Spider Cult the Musical — one weekend only June 24 & 26!


See the WORLD PREMIERE of the apocalyptic lesbian sci-fi horror burlesque musical of the century! Script by Jade Sylvan, concept and choreography by Fem Bones, original score by Catherine Capozzi. You’ve NEVER seen live theater like this!

Kissing Oscar Wilde

“…a rickshaw of sexual misadventure and gender dysmorphia.” – The Boston Globe (full story here)

“…a pansexual bildungsroman crafted with unabashed eloquence… an epidural of hope.” – DigBoston (full review here)

“…nothing could be more Millenial… overwhelming in its urgency.” – PANK (full review here)

“It will strike a chord with any readers who themselves have been young literary bohemians.” – Albany Times Union (full review here)

Novelization of the Film TEN

Ten women find themselves in a vacant mansion on Spektor Island in December, 1972. Each believes she’s traveled to the house on business, but they all agree that something seems strange. For one thing, the entire house is full of pictures and statues of pigs.

The women all come from drastically different walks of life. None of them would have chosen to spend the night together in such an eerie place, but the last ferry for the mainland has just left, and a terrible storm is rolling in. Trying to make the best of an unpleasant situation, they raid the mansion’s wine cellar and throw a party. As the night creeps on, however, it becomes clear that someone–or something–has lied to get them in the house. It’s not long before someone mentions that Spektor Island is supposed to be haunted.

The Spark Singer


Jade Sylvan’s poems are ornaments to holidays that don’t exist yet. Something with candles. Our first instinct is to treat them with extreme care, but not out of fragility, just the understanding that the sacred has occurred. Magic. Too much of the world fit into this small ritual.” —  Brian Ellis, author of Uncontrolled Experiments in Freedom

“Jade Sylvan’s poems exhibit the daring of the coquette. If there is evidence of calculated and flagrant provocation, the flagrancy softens under the solvency of an earnest and wistful longing. That longing is tempered in the kiln of molten experience; that kiln is fired by a hunger that drives this poet to seek knowledge, deep and wide-ranging. If her eloquent and meticulous craft sometimes surpasses the bounds of its prescribed forms, it is only because her characters cannot resist undoing the stays of their corsets. The flood of passion that generated these poems saturates every sandbag piled up to hem it in.” — Tom Daley