From nature writing to ecological anxiety, theatre, as a visionary medium, portrays not only how ecological catastrophe permeates life but also how humans and non-humans witness this spectacle. Set in a garden and a cottage, Caryl Churchill’s Escaped Alone (2016) and Lucy Kirkwood’s The Children (2016) portray the apocalypse through the practices of everyday life. The former is fragmented, mirroring the mental and environmental decline throughout, whereas the latter differs in its natural flow of dialogue and the traces of trauma. However, the characters, or the survivors, live in both comfort and demolition, using domestic space as a base for recalling and sharing the reasons for and remedies of the catastrophe. Therefore, both plays present environmental trauma through the practices of daily life in domestic spaces, where their anxieties are exposed. Considering related works and articles, this paper offers a comparative analysis of Escaped Alone and The Children, showing how everyday life mediates between disaster and remembrance.