This dissertation explores the persistent intersection of domesticity and global capitalism in twentieth- and twenty-first century drama. Reassessing canonical family dramas by Henrik Ibsen, Arthur Miller, August Wilson, and Caryl Churchill, and reading new works by Helen Edmundson, Natasha Gordon, and Stefano Massini and Ben Power, this project considers how the long histories of transatlantic imperialism shape dramatic presentations of the household and the nation. It transcends the national frames of analysis within which family plays have traditionally been read in order to interrogate their broader geographic and thematic concerns, including the racial capitalism and settler colonialism that impacted domestic structures and conventions. I demonstrate that the family has evolved over time in response to different circumstances of class, gender, and race, and I argue that families on both sides of the capitalist world-economy have indelibly impacted each other, even those that appear untouched by empire. Building on scholarship on the Atlantic world and capitalist modernity, I show how these domestic dramas depict the intimate economic and psychic consequences of the land dispossession and plantation slavery of the seventeenth, eighteenth, and nineteenth centuries on our contemporary world. This dissertation thus rethinks the lineages and concerns of modern drama by showing how domestic scenarios are embedded in an increasingly vast network of social and economic relations, axial and gendered divisions of labor, and class struggles and solidarities, and by exploring the exploitative dynamics that link Europe, the Americas, the Caribbean, Africa, and Asia. It therefore proposes domestic drama as crucially additive to the study of the world system and as a form of world literature.