Abstract This article examines the portrayal of the domestic realm in both Irish playwright Sean O'Casey's 1920s Dublin Trilogy and Korean playwright Yu Ch'i-jin's 1930s Nongchon trilogy. I argue that Yu echoes O’Casey’s staging of nationhood by focusing on the homeland and the home, as he deems O’Casey’s methods to be most successful for catering to the general people of the colonized nation. Moreover, I recognize that this is Yu’s attempt to establish a transcolonial solidarity between Korean and Irish national theatre, rather than to produce a “Westernized” theatre tradition for the Korean nation.