Although the representation of trauma testimony in Black women’s literature has been previously analyzed, scholarship on testimony in theatre and performance is much less abundant. This article discusses how Ntozake Shange’s choreopoem for colored girls who have considered suicide/when the rainbow is enuf (frequently referred to by its shortened title, for colored girls) physically and textually depicts the formation of a successful witnessing community among its cast of Black women. By developing a close reading of the poems where all characters are onstage (“dark phrases,” “my love is too,” and “a layin on of hands”), this article explains how Shange depicts the characters’ journey from attempted trauma testimony without a witnessing community through the process of creating a group of addressable others, to the successful transmission of testimony. The techniques of plurisignance and translucence (as defined by Karla Holloway) are crucial elements of the Black female literary tradition that for colored girls successfully uses to enact the development of a witnessing community of addressable others. Additionally, the choreopoem’s usage of music, dance, and singing drives the physical depiction of trauma testimony on the stage and the divide (and ultimate reconnection) between body and voice for the characters. It is the formation of a unified yet diverse community of addressable others that enables the development of the main characters’ independent voices and the beginning of a process of healing from trauma. The physical representation of trauma testimony onstage in Shange’s choreopoem blends performance theory and literary techniques to demonstrate the necessary basis for the piece’s cast of Black women to begin to heal from cultural trauma.