2945 Arthur Kill Road · Staten Island

Ten’s Cabaret


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By entering — on either button above, or on the reduced-motion link — you confirm you are of legal age. Your motion choice is remembered on this device and can be changed at any time from the control in the bottom-right corner of every page. Images are illustrative and posed by models.

The stage

A circle of light, and whoever is standing in it

Pole, aerial hoop and live horn on a round stage in the middle of the floor.

Open 5:00 PM – 4:00 AM, seven nightsHours are 5 PM to 4 AM daily. This status is worked out from your device’s clock, in New York time.

Everything below is the room at 2945 Arthur Kill Road, rebuilt from the club’s own photographs. Nothing on this page is stock and nobody in it was generated.

What runs

Three disciplines, one floor

A night at Ten’s is built like a bill, not a loop. Sets rotate through the evening, the rigging comes down when it is needed, and the room’s light changes with the discipline — hard blue for the aerial work, warm and low when the horn comes out.

  • An aerialist folded into the steel hoop above the empty floor, the white triangular wall fixtures lit behind her.

    A steel lyra dropped out of the truss over the middle of the stage, and flown back up between sets.

  • A performer inverted high on the chrome pole with the red-draped ceiling and exposed truss overhead.

    The pole runs from the centre of the round stage clean into the truss, so the work happens in the round.

  • A saxophonist in a sequinned suit and white brimmed hat plays beside the pole, the lit bottle wall green behind him.

    A saxophonist plays over the house set, at the pole, with the bottle wall lit behind him.

Hover or tab onto a discipline and the room above changes its lighting to match. The photographs are the evidence for all three; we publish no schedule for any of them.

Aerial

The hoop comes out of the truss

A steel lyra rigged into the ceiling truss directly above the round stage, dropped for the aerial sets and flown back up between them. The room goes to blue and the haze catches the beam so you can see the shape of the light as much as the shape of the performer. It is the single least likely thing on Arthur Kill Road.

An aerialist folded into the steel hoop above an empty floor, violet haze and hard beams behind her, the white triangular wall fixtures lit down the back wall and a single yellow balloon resting on the polished stage.
Aerial set, house empty, the stage panel still lit.
The main room at Ten’s seen from the floor: an aerialist inverted in a steel hoop rigged beside the chrome pole, a lit panel in the stage below her, white triangular fixtures along the back wall and a rope of pink lights running the length of the bar.
The only wide frame that survives of the room — hoop, pole, wall fixtures and the rope light along the bar, all in one plate.
Reserve stage-side →

Live horn

Somebody is actually playing

A saxophonist works the floor over the house set — sequinned suit, white brim, gold horn, standing at the pole with the bottle wall lit behind him. Live musicianship in a room like this is rare enough that people who come for it end up staying for everything else.

We don’t publish performers’ names. Ask the host who is on, or follow the room on Instagram.

See the nights →
A saxophonist in a leopard-print sequinned suit, white brimmed hat and dark glasses plays beside the pole on Ten’s stage, the lit bottle wall behind him going green and violet under the spots.
Live saxophone at the pole, the bar lit green behind.

Pole

Floor to ceiling, through the middle of the stage

The pole is not on a platform against a wall. It runs from the centre of the round stage straight up into the truss, which means the work happens in the round and every seat in the house is a front seat. On a full Friday the floor around it disappears under paper.

Fantasy Fridays →
A busy Friday on the floor: a performer inverted high on the chrome pole with dollar bills in the air around her and covering the round stage below, the red-draped ceiling and exposed lighting truss overhead, guests along the bar and a bartender working the well.
A Friday, high on the pole, the floor covered in singles.
  • Round elevated stagewith the pole through its centre
  • Steel hooprigged into the truss above it
  • Lit triangular fixturesthe length of the back wall
  • A long barwith the bottle wall lit behind it
  • Black leather banquetteslow, around the perimeter
  • A dark reflective floorthat holds every beam twice

Eleven frames

Everything we have of the room

Eleven photographs made for Ten’s between 2023 and 2025 — some on the floor during service, some in a studio session. No stock, no renders, nobody generated. This is the room as the camera found it, which is to say mostly in blue.

Frames
11
Acts
Four
Made
2023–2025
Stock
None
Generated
None

Select any frame to open it full size. Arrow keys move between frames, Enter opens one, Escape closes.

Act one · Two frames

The room

Two frames with nobody in them. The round stage with the pole through it, the hoop rigged into the truss above — the room itself, which is the whole argument, because it is the actual room and not a set.

  • The only landscape frame in the archive. Every other wide moment on this site is built, not photographed.

A drawn plan of the room at Ten’sA schematic overhead plan: a round stage near the centre with the floor-to-ceiling pole at its middle and the aerial hoop rigged above it, a long bar with a lit bottle wall down the right-hand side, black leather banquettes along the left wall, the swagged drape wall across the back, and the doors at the bottom.Round stagePole & hoop rig aboveBarBottle wallBanquettesDoors
Drawn from the photographs on this page. A schematic, not a floor plan, and not to scale — but every fixture in it is one you can see in a frame above.

Act two · Three frames

The stage

Three frames of the work. A Friday at capacity with the floor under cash, a saxophonist playing beside the pole, and one quiet minute on the leather before the room fills.

Act three · Four frames

The company

The studio session and the portrait plates. Two of these files are small — 539 and 630 pixels on the long edge — so they are shown small. Nothing on this page has been upscaled to look like more than it is.

  • Carries the club’s wordmark, bottom right. Nothing is laid over it.

  • 630 × 579. The cleanest composition in the set and the second-smallest file, so it is shown small and never cropped.

  • 539 × 539. One of only two surviving impressions of the club’s original mark — which is why the watermark stays, and why nothing is laid over that corner.

Act four · Two frames

The bar

The long bar and the lit bottle wall, which after the stage is the brightest thing in the building.

Provenance

About these photographs

The club’s own site notes that its images are for illustrative purposes and posed by models. We’ve kept their photographs and their note.

What we can state precisely: all eleven files were served from Ten’s own media library. That is a claim about the files, not about who is in them — so we have kept the club’s own note above rather than presenting the set as documentary. No performer is named anywhere on this page, because the only names attached to these files are filenames, and a filename is not a person’s consent.

Nothing here is stock and nothing here is AI-generated. Nothing has been upscaled past the pixels that exist: the two small files are shown small, and the widest frame in the archive is 1,280 pixels across, which is why the wide moments elsewhere on this site are built rather than photographed.

The decks

Two names hold this room’s floor

DJ Renegade and DJ Yamosa are the two names that come up on the big nights here — Renegade on the competition, both of them on a Friday. A DJ who can hold a floor for eight hours is a specific skill, and this room has two.

  • Fantasy Fridays · Queen of the Pole

  • Fantasy Fridays

Cadence not confirmed

Both names are the club’s own, published against named nights. That either one is a standing weekly resident is our reading of two dated bookings, not the club’s statement — call +1 347-630-7077 to confirm who is on before you travel.

See the named nights →

The company

The people who work this room

The cast rotates and the bill changes, which is the point of a cabaret. Some nights are pole-led, some are aerial-led, some have a horn in them. Follow the room on Instagram for who is on, or ask the host when you book — they will tell you straight.

We don’t publish the cast list. Who is on changes nightly.

Doors
5:00 PM – 4:00 AM · Sunday through Saturday
The room
2945 Arthur Kill Road, Staten Island, NY 10309
Bottle service
Tiers and the bar list
Age
21+ with valid ID

The room

The hoop, the pole and an empty house

Frame 1 of 11

The main room at Ten’s seen from the floor: an aerialist inverted in a steel hoop rigged beside the chrome pole, a lit panel in the stage below her, white triangular fixtures along the back wall and a rope of pink lights running the length of the bar.
About this photograph

The club’s own site notes that its images are for illustrative purposes and posed by models. We’ve kept their photographs and their note.

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