Growing underground, on Thursday 24 April, 8-11pm, at the Forest cafe.
The Forest’s roots have been growing fast. So fast they’ve cracked our stage wide open. Push your way through the leaf litter and give us a show. Sign up by getting in touch or by dropping in on the night.Slot length depends on demand (you’ll have at least 15 minutes though). Your slot is yours. You can do anything with it.BUT It’s you we want! Please make sure there’s something of you in your performance.

Growing underground, on Thursday 24 April, 8-11pm, at the Forest cafe.

The Forest’s roots have been growing fast. So fast they’ve cracked our stage wide open. Push your way through the leaf litter and give us a show.
Sign up by getting in touch or by dropping in on the night.
Slot length depends on demand (you’ll have at least 15 minutes though).
Your slot is yours. You can do anything with it.
BUT It’s you we want!
Please make sure there’s something of you in your performance.

Dead white males, Saturday 15 February, at 7pm, @ Forest Cafe.

Dead White Males, the play by Australian playwright David Williamson, deals with several conflicts which occur between the characters. Whether they concern patriarchy and feminism, or intellectualism and anti-intellectualism, these opposing ideas each spawn from the plays chief conflict between liberal humanism and post-structuralism. In the beginning, the plays main character, Angela Judd, finds herself somewhere amidst the two. During the course of the play she and the audience are presented with supporters of each ideology and finally led to prefer one above the other. The ideologies are represented through the actual characters in the play, and by the use of excerpts from some of Shakespeares famous plays.
Dead white males, Saturday 15 February, at 7pm, @ Forest Cafe.
Dead White Males, the play by Australian playwright David Williamson, deals with several conflicts which occur between the characters. Whether they concern patriarchy and feminism, or intellectualism and anti-intellectualism, these opposing ideas each spawn from the plays chief conflict between liberal humanism and post-structuralism. In the beginning, the plays main character, Angela Judd, finds herself somewhere amidst the two. During the course of the play she and the audience are presented with supporters of each ideology and finally led to prefer one above the other. The ideologies are represented through the actual characters in the play, and by the use of excerpts from some of Shakespeares famous plays.
Black and blue poetry reading, Saturday 15 February 2-4 pm, @Forest cafe.




Black & BLUE IS A CREATIVE WRITING ORGANISATION BASED IN MANCHESTER & LONDON.
IT WAS FOUNDED TO BE A FRESH COUNTERPOINT TO THE CONVENTIONAL LITERARY SCENE, & TO CHAMPION TRULY NEW WRITING: WRITING WHICH IS GOING SOMEWHERE REALLY DIFFERENT.
IT PUTS OUT INTERESTING PAPER PUBLICATIONS FULL OF DRAMA & POETRY, PROSE & OTHER.
BUT IT IS MORE INTERESTED IN BLURRING THESE CATEGORIES, ALLOWING THEM TO BLEED INTO EACH OTHER, PERMEATE EACH OTHER & EXCHANGE IDENTITIES:
THE DRAMA OF WHAT’S PROSAIC, THE OTHER INSIDE POETRY. THE WAY PROSE CAN BECOME LIKE POETRY. THE WAY REALLY RADICAL WRITING HAS ALL THESE THINGS IN FLUX.






IT SOURCES WRITING FROM ALL OVER & IS KEEN TO PUBLISH PEOPLE WHO HAVEN’T BEEN PUBLISHED BEFORE & ESPECIALLY THOSE WHO DON’T EVEN CONSIDER THEMSELVES POETS OR WRITERS.IT ALSO WANTS TO QUESTION WHAT IS CONSIDERED ‘LITERARY WRITING’, & SHOW THAT SOME REALLY INCREDIBLE WRITING JUST EMERGES BY ACCIDENT, LIKE IN TWEETS, LISTS, NOTES & FACEBOOK STATUSES, ALL OF WHICH IT PUBLISHES DIRECTLY ALONGSIDE MORE CONVENTIONAL FORMS.
BUT IT ALSO WANTS TO AFFIRM THE TRADITION OF POETRY & SUGGEST THAT POETIC LANGUAGE ISN’T PRETENTIOUS, BUT HAS A REAL CAPACITY TO RISE TO OUR TIMES.

Black and blue poetry reading, Saturday 15 February 2-4 pm, @Forest cafe.

Black & BLUE IS A CREATIVE WRITING ORGANISATION BASED IN MANCHESTER & LONDON.

IT WAS FOUNDED TO BE A FRESH COUNTERPOINT TO THE CONVENTIONAL LITERARY SCENE, & TO CHAMPION TRULY NEW WRITING: WRITING WHICH IS GOING SOMEWHERE REALLY DIFFERENT.

IT PUTS OUT INTERESTING PAPER PUBLICATIONS FULL OF DRAMA & POETRY, PROSE & OTHER.

BUT IT IS MORE INTERESTED IN BLURRING THESE CATEGORIES, ALLOWING THEM TO BLEED INTO EACH OTHER, PERMEATE EACH OTHER & EXCHANGE IDENTITIES:

THE DRAMA OF WHAT’S PROSAIC, THE OTHER INSIDE POETRY. THE WAY PROSE CAN BECOME LIKE POETRY. THE WAY REALLY RADICAL WRITING HAS ALL THESE THINGS IN FLUX.

IT SOURCES WRITING FROM ALL OVER & IS KEEN TO PUBLISH PEOPLE WHO HAVEN’T BEEN PUBLISHED BEFORE & ESPECIALLY THOSE WHO DON’T EVEN CONSIDER THEMSELVES POETS OR WRITERS.

IT ALSO WANTS TO QUESTION WHAT IS CONSIDERED ‘LITERARY WRITING’, & SHOW THAT SOME REALLY INCREDIBLE WRITING JUST EMERGES BY ACCIDENT, LIKE IN TWEETS, LISTS, NOTES & FACEBOOK STATUSES, ALL OF WHICH IT PUBLISHES DIRECTLY ALONGSIDE MORE CONVENTIONAL FORMS.

BUT IT ALSO WANTS TO AFFIRM THE TRADITION OF POETRY & SUGGEST THAT POETIC LANGUAGE ISN’T PRETENTIOUS, BUT HAS A REAL CAPACITY TO RISE TO OUR TIMES.