Postdramatic theatre attempts to stage the abstract, numinous financial structures of neoliberalism, capitalising on its ghosts in order to ground its own phantasmagorical formal experimentation. This chapter discusses the structural similarities and links between neoliberal financial models and postdramatic theatre. It analyses an early German response to the rise of neoliberal ideology and economics following the fall of the Berlin Wall in 1989. Heiner Muller's Germania 3.Gespenster am Toten Mann documents the expansion eastwards of western ideology from the perspective of a playwright from the former German Democratic Republic (GDR). It develops an image of western consumerism and finance as a motor for new forms of haunting. It also analyses Dea Loher's later Manhattan Medea as an example of gothic postdramatic theatre that employs spectral figures to reproduce and critique the spectral financial models at the heart of an established global, neoliberal world order.