There they are....

http://staff.lib.muohio.edu/nawpa/Spiderwoman.html
Spiderwoman Theater Papers

In 1996 Spiderwoman Theater donated their papers to the Native American Women Playwrights Archive, and these materials are currently being processed and cataloged. The papers make up two archival boxes of correspondence, photos (personal and performance), programs, posters, flyers, publicity materials, clippings from reviews (some original, some photocopies), partial scripts, and memorabilia. Included are two audiotapes of lectures given at the University of Illinois (1996), a commercial videotape of Sun, Moon, Feather, a videotape of a live performance of Sun, Moon, Feather at Miami University, February 25, 1997, followed by the awarding of an honorary Doctor of Fine Arts to each of the three Spiderwoman sisters, and a videotape of "Winnetous's Snake Oil Show at Wigwam City," performed at Miami University, March 1999.

Spiderwoman Theater: The Real Marvel, an exhibit of these materials, was mounted February 23-March 10, 1997, in the Walter Havighurst Special Collections Library. The online exhibit linked above is a partial record of the full exhibit.

Address

E-mail: spdrwmnthr@aol.com

Agent:
Liz Dunn Production/Management, Inc.
526 West 26th Street, Suite 821
New York, NY 10001
(212) 691-1970
LDPMnyc@aol.com

Contact NAWPA.

thanks for the post and the info

I've never had a chance to see them, but have heard they are just an absolute riot.

The academic world has given them quite a bit of attention. Here one example.


http://www.thirdspace.ca/articles/diner.htm
 
Not-So-Exotic-Indians: Irony, Identity and Memory in Spiderwoman's Spectacles
 
Robyn Diner

I begin this text performatively, by inviting you to think through my re-staging of several scenes. The first occurs on a Friday night in New York City somewhere off Broadway in a good way where Spiderwoman are wreaking their special blend of painfully hilarious havoc. In this space and place, the three Native American sisters who make up the Spiderwoman performance trio - Gloria Miguel, Muriel Miguel and Lisa Mayo - are putting on Winnetou's Snake Oil Show From Wigwam City (1988).[1] This seriously playful piece makes a mockery out of the new age trend Spiderwoman call "half-breeditis," which has lead to the pathetic and seemingly mysterious rise of white folks who are suddenly starting to discover great, great grandmothers who were once a quarter Cherokee. "Don't even bother looking back to the past," Spiderwoman seem to suggest as they stage a spectacularly fake workshop where they offer to turn white people into Indians faster than a speeding bullet. For a mere $3,000 Spiderwoman promises that you too can go Native by simply swallowing their "Yataholey Indian Snake Oil." This concoction, explains Spiderwoman in the spirit and splendor of blasphemous solemnity, is made with real, authentic Indian ingredients like "porcupine piss ... yum yum from a bum ... and skunk cum" (Schneider 160).[2]

Or, it may be Saturday night in Seattle where Spiderwoman are doing Sun, Moon, Feather (1981) during which they turn the tables on themselves by re-enacting somewhat hysterical and hilarious childhood memories of re-staging the Cowboys and Indians Hollywood classic The Girl of the Golden West. As they morph into versions of their kid-like selves, they fight over who gets to be the good guy - or, in their case, the white girl. Then, Gloria recalls a time at a pow wow when they heard their uncle trying to get people inside one of the circus tents by ballyhooing, "Cheedebeecho! Chedebecho! Cheedebeecho!" (Schneider 162). Hearing such a seemingly ancient chant, she remembers that special feeling of pride that accompanies learning words from the old languages. However, she quickly goes on to remind herself that some years later she learnt that what her Uncle was really screaming was, "See the big show! See the big show! See the big show" (Schneider 162).

But, Lisa explains, just when the audience really starts laughing, "Then - POW! - we get them with the real stuff" (Burns and Hurlbutt 166). This "stuff" is often made up of stories: tales of their father's drinking, his violent tendencies and his death are accompanied by talk about their incredibly deep rage at the ways in which Native peoples have been "expletive deleted"ed over and over and over again. Such "stuff" also involves bodies - Spiderwoman's in particular - which are revealed to be both constituted through the discursive effects of the colonial and "post" colonial imagery as well as inseparable from the affects of such effects on their bodies that are always already marked as "Other."

This paper thus seeks to highlight how as Spiderwoman engages in the playfully serious business of making Instant Indians, problematizing the romance of the authentic and hitting us with the "real stuff" right as we are cracking up. A variety of ironies circulate and silently articulate the seemingly irreconcilable contradictions inherent in their spectacles. I will suggest that such ironies are linked to an unruly bodily aesthetic featuring the figure of the carnivalesque female grotesque which also works to disrupt and reconfigure representations of both "Indian-ness" and femininity. Moreover, such strategic interruptions inevitably serve to unsettle seemingly stable concepts like identity, memory and authenticity. In sum, I show how Spiderwoman work with and through irony and the figure of the unruly female body in ways that allow them to juggle and struggle with their desire to hold on to some form of First Nations identity in the midst of a society where nostalgia for the lost "Other," the misguided belief in the myth of primitivity and commodity capitalism meet, greet, and get off on one another.