Boisdale Of Canary Wharf

Frederick Kitchen begins new chapter as roof of the Boat House

The last vessel to be commissioned and built at the Thames Iron Works has come full circle back to the River Lea as part of Cody Dock’s heritage pavilion

The Boat House at Cody Dock featuring the fully restored Frederick Kitchen - image by Jon Massey / Wharf Life
The Boat House at Cody Dock featuring the fully restored Frederick Kitchen – image by Jon Massey / Wharf Life

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A visit to the Boat House at Cody Dock isn’t just a chance to experience what’s on show within.

The structure’s roof is itself an exhibit – the Frederick Kitchen is a former lifeboat that’s been extensively restored and flipped over to protect the heritage pavilion below from the elements.

It has an extraordinary story to tell.

The last boat to be commissioned at the Thames Ironworks, just down the River Lea from Cody Dock, it’s carried royalty, saved lives in Wales, been refitted for fishing, turned into a houseboat, sunk and has now returned to east London.

Thanks to research by Julia Briscoe and David Scott at Cody Dock, we can relay some of its journey here.

The interior of the Boat House showing the support structure and the finished vessel - image by Jon Massey / Wharf Life
The interior of the Boat House showing the support structure and the finished vessel – image by Jon Massey / Wharf Life

a generous gift

Frederick Kitchen, the man the boat was named for, played an important part in its story.

Born in Liverpool in 1852 – the son of a cabinet maker and joiner – he initially worked as a painter before going into business and becoming a corn merchant, eventually rising to the post of chairman of Pelling, Stanley And Company.

The firm was an importer of John West Salmon and one of the founding businesses of Unilever.

His success led him to accrue significant wealth in Liverpool before moving to the small village of Trefriw in 1901 on the river Crafnant, living there with two servants and becoming chairman of the parish council in 1904, before his death a year later.

A lifelong bachelor, his closest relative was his brother, Captain James Kitchen.

In his will, he left more than £2million in today’s money to various bodies including the RNLI, specifically to fund “the purchase of a motor-lifeboat to be placed on the west coast of England”.

The institution, having received £2,400 – the bulk of the cash – by 1908, duly commissioned the Thames Ironworks in east London to build a 43-foot Watson Lifeboat, fitted with a 60 horsepower petrol engine, capable of seven knots when motoring but also able to of use sails.

It was designed by Glaswegian George Lennox Watson, who was born in 1851 and was attracted to yachts as a boy during holidays on the Clyde. 

Apprenticed as a shipwright, he became interested in the role hydrodynamics played in their design and had established his own company by the age of 22, going on to design hundreds of successful racing vessels.

In 1887 he became the RNLI’s chief naval architect and, while he died in 1904, the lifeboats he designed continued to be used into the 1950s.   

The brass plaque indicating the boat’s origin on display – image by Jon Massey / Wharf Life

built on the Lea

Founded in 1837, the Thames Ironworks And Shipbuilding Company had its main yards at Leamouth and Canning Town, with operations on both sides of Bow Creek. 

It was a titan of Victorian industry, building warships and liners as well as marine engines, cranes, parts for massive engineering projects and even motor cars.

Notably, HMS Warrior was built by the company as the first armour-plated, iron-hulled warship, leading to a slew of orders from governments around the world.

In the 1890s, the firm came under the control of managing director Arnold Hills, a philanthropist, footballer, vegetarian and champion of eight-hour days at a time when industrial workers were more commonly expected to work 10 or 12-hour shifts.

He was also involved in establishing Thames Ironworks FC, which would later become West Ham United.

However all did not remain well. Orders from the Royal Navy dried up by 1911 and the business closed in 1912.

The Frederick Kitchen was the last vessel to be commissioned and built by the company in Canning Town.

Constructed primarily from mahogany, with a heavy cast iron keel for stability in stormy seas, its design and fabrication represented the absolute zenith of skilled wooden boat building on the Thames.

Its completion also marked the end of an era.


A composite press photo marking King George V’s visit to the vessel, as featured in The Weekly Dispatch - image by The Weekly Dispatch
A composite press photo marking King George V’s visit to the vessel, as featured in The Weekly Dispatch – image by The Weekly Dispatch

a Royal encounter

Following sea trials off Harwich with the RNLI, the Frederick Kitchen made an appearance at the 1913 Cowes Regatta.

Attendees included most of the Royal Family as well as Prince Henry of Prussia – brother of Kaiser Wilhelm II – one year before the outbreak of the First World War.

During the festival, the royal yacht Britannia beat Prince Henry in the Kaiser’s yacht.

King George V also took an interest in the Frederick Kitchen, which had stopped at Cowes on its way to Beaumaris in Wales to serve as the town’s lifeboat.

He, along with senior members of the RNLI, took a trip in the vessel “during which every detail of the boat’s construction was explained” including its celebrated Gardner No. 4 reverse gear, according to the November 1913 edition of The Lifeboat magazine.

Causing quite a stir, the same article lists a succession of dignitaries who then went on to visit the boat.

The Frederick Kitchen is launched at Beaumaris - image by the RNLI
The Frederick Kitchen is launched at Beaumaris – image by the RNLI

saving lives in Anglesey

The Frederick Kitchen travelled from Cowes to begin its intended role as the Beaumaris lifeboat, protecting mariners from the small town at the mouth of the Menai Strait on Anglesey.

The completion of a new lifeboat station in 1914 allowed the vessel to enter service and she was duly dedicated with prayers from the Bishop Of Bangor and the smashing of a bottle of wine by Mrs James Kitchen – wife of her namesake’s brother, who was also present to formally hand over the boat to the RNLI. 

Crewed by eight volunteer sailors, the vessel served from 1914 until 1945 and was then held in reserve until 1948.

During the First World War and into the 1920s, the RNLI only made brief information about its lifeboats’ activities public. 

However, we do know the Frederick Kitchen was launched 35 times on rescue missions – equating to about once per year – with five leading to lives and boats being saved.

Over 31 years of service, 46 people were rescued and two vessels were recovered.

  • One notable mission in 1920 was when the schooner Jane And Ann of Carnarvon, carrying a cargo of mining pit props, broke anchor at Llandudno and drifted. The Beaumaris lifeboat was launched and initially rescued the crew, although the captain (described in the log as “an old man”), refused to leave. 

He was later removed and the schooner anchored, but strong winds saw the ship break away a second time and drift across the Mersey estuary, eventually becoming a wreck.

  • A year later, the Frederick Kitchen was in action again, dispatched to answer distress signals from another schooner, the Pandora of Fraserburgh, loaded with coal. 

Caught in a heavy north-west gale off Anglesey, the ship had broken away from its anchor and was drifting towards the Dutchman Bank when the lifeboat caught up and rescued its crew of four before it too was wrecked.

  • In March 1931 the Beaumaris lifeboat saved three young men and their yacht, the Bluebell, in fierce rain squalls and blinding snow after they lost their sails.

Led by 21-year-old JT Chitty, the son of a master at Eton College, there was much worry locally about the three inexperienced sailors with the Llandudno lifeboat also launched, although it’s help wasn’t needed as the crew of the Frederick Kitchen were able to rescue both the young men and their vessel. 

Incidentally, three months later Mr Chitty again had to be rescued from Bluebell after it broke free from its moorings and its motor failed on the River Mersea. He and a 16-year-old friend were pulled from the upturned yacht by police and harbour staff. 

  • In 1936, the Beaumaris lifeboat once more saw significant action when called to rescue the seven crew members of the schooner Flying Foam.

The 200-ton vessel had dragged her anchor having stopped to make repairs to a sail and was drifting when the Frederick Kitchen came alongside to take Captain Roy Jackson, Lorna his wife and their two cats to safety along with the rest of the people on board.

Abandoned, the Flying Foam ran aground on the west shore of Llandudno with much of its cargo of coal later salvaged via horse and cart.

It was the last sailing schooner to be wrecked in Conwy Bay, with its remains, visible for many years at low tide, becoming a tourist attraction. 

The Frederick Kitchen was launched 35 times on rescue missions - image by the RNLI
The Frederick Kitchen was launched 35 times on rescue missions – image by the RNLI

returning to London

According to National Historic Ships, the Frederick Kitchen continued to lead a colourful life after being sold to a succession of boating enthusiasts.

A cabin was added to the vessel, which was renamed the Lady Pat in 1950 and then later the Jackie Maxwell.

In 1997 the boat was restored in Blyth with the aim of using it for fishing under the new name Herring Queen. 

In 2004 it became the Ballyheo Dream with an extended cabin to allow it to act as a houseboat, but sank at its moorings before being rapidly raised and returned to Blyth.

A spell at the Fish And Duck Marina in Ely followed before the Frederick Kitchen was acquired in 2013 by the Thames Ironworks Heritage Trust, which returned the vessel to east London.

Ownership passed to Cody Dock, which embarked on an extensive restoration project to bring this piece of living maritime history back into public use.

Everyone visiting the newly created Boat House will be sheltered by timbers that were worked by some of London’s finest craftspeople, helped save lives off the coast of Wales, were trodden by King George V and will now be in service protecting and showcasing local history for many years to come.

key details: the Boat House at Cody Dock

The Boat House is located at Cody Dock on the River Lea and is free to visit.

You can find out more about the boat house and the programme for the structure via the ecological regeneration project’s website here.

Read more: Find out more about Common Threads, coming to Cody Dock in September

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Common Threads set to be exhibited at Cody Dock in September

Artist and walker, Remiiya Badru, has spent a year researching, making pieces and hosting workshops to explore the history of calico and Prussian Blue

Detail from work created as part of Remiiya Badru's Common Threads project - image by Jon Massey / Wharf Life
Detail from work created as part of Remiiya Badru’s Common Threads project – image by Jon Massey / Wharf Life

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The areas that line the banks of the Lea are rich in history, the silt of time that’s built up around the waterway.

Watch the river’s tides rise and fall and it’s easy to imagine the currents connecting to the Thames and from there the oceans beyond.

One’s head can easily start spinning from the complexity and variety of those links.  

Sometimes what’s needed is a way of fixing things, a scaffold to support the flow of ideas, themes and events.

To an extent, this is what artist and walker, Remiiya Badru’s, year-long collaboration with Cody Dock is all about. 

Common Threads has seen her take up the position of artist-in-residence at the ecological regeneration project, to research, investigate and respond to two interrelated commodities and their history in the area.

The first is the woven cotton cloth, calico, and the second the synthetic pigment Prussian Blue, once made at the site.

“I’m an artist, but I’m also a walker and an educator and both of those things inform my practice,” said Remiiya.

“I also have a connection with rivers and bodies of water as well as maps with the work I create.

Common Threads is about how we capture stories around the textile trade across the docks in east London.

“I see the threads as stories coming together, so I wanted to bring the community in and give people in this area the opportunity to share their tales.

“In this way these Common Threads are global narratives – they all come from somewhere and I wanted to look at how we could represent that visually in the context of the history.”

Artist and walker Remiiya Bardru has spent a year working at Cody Dock - image by Jon Massey / Wharf Life
Artist and walker Remiiya Bardru has spent a year working at Cody Dock – image by Jon Massey / Wharf Life

weaving stories together

When it comes to both the textile and the pigment, that past is a complex weave – different countries, creations and locations.

For Remiiya – an artist whose practice is characterised by curiosity and serendipity – it’s an irresistible jumping off point.

Having trained as an illustrator and then as a teacher – a useful skill that enabled her to take her art “out of the classroom and into museums and galleries” – she worked for a while in Bristol.

“That was at the Arnolfini Gallery with community groups and facilitating social engagement and I thought it was a very important part of my practice.

“That remains the case today, but I’m also very interested in the heritage of places. 

“I hated history at school but I found a way of seeing the subject as an archive of real people’s stories.

“Geography is also a love of mine – how people and place connect and how cities shift and shape themselves. I really love maps and what they represent.

“These things come together when I’m walking.

“My practice is often intuitive – if something jumps out at me, I’ll go and research it.

“I’ve done many walks along the Thames and the Lea – I’m a bit of a nomad.

“I would say the river is the aorta of the city – it pulls in all those tributaries and the stories flow into it.”

Remiiya's model boat, the Timehri on a beach on the Isle Of Dogs - image by Remiiya Badru
Remiiya’s model boat, the Timehri on a beach on the Isle Of Dogs – image by Remiiya Badru

In recent years, Remiiya has collaborated with the National Maritime Museum, making art and researching its collections to find women and people from diverse backgrounds.

She’s made a “living map” entitled Rhumblines, displayed at the Making Space in Aberfeldy Street.

She’s featured in Thames-focused documentary Time And Tide.

She’s led workshops, walks and meet-ups. 

But perhaps most revealingly she’s built a model boat, the Timehri, named for the “art and craft of man” which she’s taken for walks along the river as a conversation starter and because the journey forms part of the artwork. 

It’s been placed in Canary Wharf, on a beach on the Isle Of Dogs and on the plinth that once supported the statue of slaver, merchant and ship-owner Robert Milligan, who was the driving force behing the construction of West India Docks.

Such activities are indicative of Remiiya’s intuitive approach to the subjects she investigates – one that she’s carried over into Common Threads.

“Calico is a global cloth with a complicated narrative,” she said.

“It’s a strong cotton fabric that’s thicker than muslin, but not as thick as denim – today it’s often used to make tote bags.

“It was at the centre of an attempt to protect the British textile industry when importing it was banned. 

“The fabric was often printed and Bromley Hall (which sits just across the Lea from Cody Dock on the A12) – a building with multi-layered narratives that go back to Henry VIII and beyond – was a major producer, using copper plates to create intricate designs.”

Hi-vis calico jackets created from the September exhibition - image by Jon Massey / Wharf Life
Hi-vis calico jackets created from the September exhibition – image by Jon Massey / Wharf Life

doing the research

These stories, coupled with extensive research in partnership with the V&A have all fed into a project that will be fully realised in September.

That includes making use of Prussian Blue, which was once manufactured on site at Cody Dock and was shipped worldwide from there by the Imperial Chemical Company.

“When people come to see Common Threads on September 19, I want them to appreciate all the elements of the history of this area,” said Remiiya. 

“I’ve worked with different community groups and schools to get them to think about what’s important to them and we’ve created a series of cloths.

“We’ve also made jackets in calico based on the high-vis ones worn at Cody Dock – again based on people’s personal connections to this area.

“We’re now working on a plan to display all this material across the site.

“I want people to discover Cody Dock – it’s off the beaten track, but it’s an oasis and there’s something here for everyone.

“I really like that the people here love and care for the spaces and that it’s a place where artists can hold up a mirror to history. 

“Over the months I’ve been here, I’ve felt such freedom and autonomy to work on this project and there’s been so much support.

“It’s growing and expanding and that’s really exciting – let’s see where the threads take us.”


Common Threads will be the first exhibition to make use of Cody Dock's newly opened Boat House heritage pavilion - image by Jon Massey / Wharf Life
Common Threads will be the first exhibition to make use of Cody Dock’s newly opened Boat House heritage pavilion – image by Jon Massey / Wharf Life

key details: Common Threads

Common Threads will be unveiled at Cody Dock on September 19, 2026, at the ecological regeneration project’s Lighting Up The Lea event – part of the Totally Thames Festival.

The open day, runs from 11am-6pm, and includes a mix of workshops, live performances, walks, talks and a chance to see the work produced for the project. Entry is free.

Find out more about Cody Dock here

Read more: Discover the extraordinary maps and prints at Frontispiece

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Feels Like June unveils Lois O’Hara mural at Tribe London

Artist in residence at Tribe London Canary Wharf has created wall art at the Water Street venue via latest project to enhance communal areas

Artist Lois O'Hara in front of her work at Feels Like June - image by Jon Massey / Wharf Life
Artist Lois O’Hara in front of her work at Feels Like June – image by Jon Massey / Wharf Life

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Tribe London Canary Wharf is rapidly becoming a feast for the senses.

Earlier this year, the hotel launched its Vinyl Club – a listening station for guests and visitors to enjoy the bump of needle in groove via a curated selection of records and even a specially released album entitled New Grounds.

Now its California-themed ground floor restaurant and bar – Feels Like June – is delivering on sight, unveiling a mural by artist in residence Lois O’Hara alongside specially designed drinks coasters.

“What we want to do is to show our hotels are not just a place to sleep,” said Filipe Avillez, general manager at Tribe London Canary Wharf.

“We want people who are staying with us or visiting to come down and use our social spaces.

“To encourage guests to do that, we try and activate these areas in different ways.

“That’s why I’ve always wanted to work with an artist in residence. 

“Lois worked with us on the launch of Vinyl Club and then we invited her to come and create this piece.

“She stayed with us for a week and painted this mural and it looks fabulous. I love the finished piece.

“We’d seen some of her other works and I’m really proud that we now have one on our wall.

“We’re really happy with it and it deserves to stay in its place forever.”

The Vinyl Club at Tribe London Canary Wharf - image by Jon Massey / Wharf Life
The Vinyl Club at Tribe London Canary Wharf – image by Jon Massey / Wharf Life

realising the work

Lois’ work at the Water Street venue is about five metres high and acts as a backdrop to Feels Like June’s bar area. 

She said: “It was quite challenging to get the crisp lines right because you’re painting on an uneven surface.

“It was physically demanding and I was working on a cherry picker to get to the higher areas.

“It took me a few months to design the piece because although I wanted to bring joy to the hotel and the restaurant area, I also wanted it to fit in with the existing interior.

“It’s a piece in my typical style, which is fluid, organic and joyful. 

“I’ve used some of the colours, from Feels Like June’s interior here, but I also wanted the mural to feel like an explosion of drinks over the wall coming together in a really beautiful way. 

“There are colours that I really like and often use in my pieces – pink, for example. But this is also a collaboration.

“I really hope people who are looking at this piece feel joyful – for me that’s represented in the orange circles, which are a perfect expression of joy.

“The whole work is intended as a journey towards that.

“But it’s also important that guests here feel comfortable.

“There are lots of pieces out there that make use of colour but they can be a bit too much, a little off-putting.”

Lois O'Hara's mural at Feels Like June - image supplied by Tribe London Canary Wharf
Lois O’Hara’s mural at Feels Like June – image supplied by Tribe London Canary Wharf

from illustration to public art

Lois is based in Brighton and studied illustration before embarking on a career in art.

She said: “It’s really been in me since I was little – drawing and painting. It’s always something I wanted to do.

“But going to uni only pushed me further because I didn’t get much support there.

“The people running the course I did didn’t really understand how I could make money painting walls.

“But I thought there was definitely a way – I had an idea.

“I decided to give it a go and started doing small walls in local cafés and places like that. 

“I’ve always been quite rebellious, I guess and I’m the kind of person who wants to get things done.

“If someone tells me I can’t do something, it just makes me want to do it more.”

It’s an approach that’s led to significant success with her work gracing the likes of W London, Wembley Park, Grand Designs Live and Magazine London.

Her work is also available to buy via her website.

Cocktails and coasters created at Feels Like June in celebration of the mural's launch - image supplied by Tribe London Canary Wharf
Cocktails and coasters created at Feels Like June in celebration of the mural’s launch – image supplied by Tribe London Canary Wharf

key details: Lois O’Hara at Feels Like June

Lois O’Hara’s mural can be seen at Feels Like June on the ground floor of Tribe London Canary Wharf.

The restaurant and bar is open daily from 7am to 10pm.

You can find out more about the venue here

Read more: Discover the extraordinary maps and prints at Frontispiece

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The Tallyman set to open as Canary Wharf welcomes new pub

Our Yummy Collection will launch venue at Chancellor Passage beside Eden Dock in September 2026, championing food and drink

An artist's impression of how The Tallyman will look when work is completed - image by Our Yummy Collection
An artist’s impression of how The Tallyman will look when work is completed – image by Our Yummy Collection

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“It’s going to be called The Tallyman,” said Anthony Pender, founder of Our Yummy Collection, as the business prepares to open a pub in Canary Wharf.

“Before the towers this was all docks, loading and unloading cargo.

“At the heart of that operation there was a person whose job it was to keep track of the stock going onto and coming off the boats.

“It’s a role that goes back hundreds of years.

“The captains of the ships, the customs officers and the workers all trusted the tallyman.

“The dockers got paid by how much they’d loaded or unloaded so it was his job to make sure they received fair wages.

“His role was to be an honest person in a noisy world.

“Although that job no longer exits here, it felt like an appropriate name for a proper pub, which should have that kind of honesty and authenticity about it.”

Our Yummy Collection founder Anthony Pender - image by Jon Massey / Wharf Life
Our Yummy Collection founder Anthony Pender – image by Jon Massey / Wharf Life

something ‘a bit more daring’

Set to open on September 10, 2026, The Tallyman is currently being fitted out to serve customers. 

Located in Chancellor Passage it will fill the spaces left by the relocation of the Post Office and the closure of Grateful Kitchen – transforming the long low structure beneath the DLR with its southern tip overlooking Eden Dock.

Canary Wharf hasn’t been without pubs over the years – The Henry Addington just around the corner from the new venue continues to do a brisk trade, as does The Gun, a little way off the estate to the west.

However, traditional venues have closed locally without being replaced – notably The Cat And Canary and it’s craft beer-focused successor The Merchant.

A little further south on the Isle Of Dogs, The North Pole and The City Pride were also lost to property development, although the former may well make a comeback. 

None of this, however, has deterred Anthony.

After a spell working for Carlsberg, he went into business with two friends and spent 15 years running pubs as they successfully strived to establish food-led venues in the wake of the smoking ban.

After taking sole charge, Anthony turned Yummy’s focus to London and currently operates The Somers Town Coffee House near Euston, The Victoria near Mile End and a seafood restaurant called Faber in Hammersmith.

“We wanted to go for it a bit more, to be daring,” he said.

“We thought there were areas of London that needed pubs again. 

“The costs are challenging, but there’s demand – our venues are busy and each one is fiercely independent. 

“We’re not a chain, just a collection of autonomous people working together.

“We don’t have a mission statement or anything like that – our one mantra is to be authentic in what we’re doing.

“I started working in hospitality while I was at university – pot washing, bar tending, it was a real mixture.

“Then I started organising events in some of the nightclubs in Bristol and absolutely loved it.

“I saw the opportunity to offer good food in pubs and that’s what led us to open that first venue near Lingfield Racecourse.

“The reason we’re here is that Canary Wharf Group approached us as they were looking to introduce another pub on the estate. I saw the space next to the dock and loved it.

“CWG has been phenomenally supportive.

“If I come here and see a really eclectic mix of people in here then we’ll have done our job.

“This should be a place for local residents, students, teachers, people working in the offices and visitors to the area.

“I’d love it to be a diverse crowd all getting on with each other – for us it’s about longevity, not being a flash in the pan.”

The Tallyman's menu will be driven by classic dishes - image by Our Yummy Collection
The Tallyman’s menu will be driven by classic dishes – image by Our Yummy Collection

a traditional aesthetic

Visitors to The Tallyman will find themselves in an environment that whole-heartedly embraces a classic pub aesthetic, albeit with all the modern touches you’d expect.

There will be much wooden panelling, low cast lighting, a grand fireplace and even a piano. 

“Firstly, we’re a pub, so there won’t be a concierge desk,” said Anthony.

“People will go to the bar, buy their drinks and then choose their seats. 

“Of course, if you want to be served at the table then we’ll look after you all night, but we also want people standing at the bar and meeting each other.

“It should be a little oasis, somewhere you can come to forget about politics, the world and work and just relax.

“There won’t be clocks on the walls to remind you that you should be back at work.

“We’ll have a fantastic outside area that’s a sun trap during the day.

“That will, like all good east London pubs, have a seafood shack, although we’ll be serving lobster rolls, oysters and affordable caviar rather than crab sticks and jellied eels.

“We’ll have a dining room in the back of the venue where we’ll serve an a la carte menu with classics such as burgers, pies, fish and chips and game.

“We’re even toying with the idea of pork scratchings topped with caviar – it really works.

“We’ll have specials and snacks in the bar too, always aiming to serve constantly evolving British fare.”

Oysters will be available next to Eden Dock - image supplied by Our Yummy Collection
Oysters will be available next to Eden Dock – image supplied by Our Yummy Collection

quiz nights and live music

The Tallyman won’t have screens, as Anthony said Yummy’s pubs were primarily “about conversation and having a good time”.

There will, however be occasional live music as well as quiz nights when things are fully up and running.

“All of our pubs have their own identities and the people running them have the power to make their own decisions,” said Anthony.

“For example, we do stock some drinks in all locations but others are particular to the local market. 

“One of the things I think is ready to make a come-back is cask ale.

“Everyone’s talking about Guinness at the moment, which is a great product, but interest will probably wane and ale will be there to take its place.

“I saw recently that they’re bringing Boddington’s back, but only on cask and we’re going to give that a go.

“The reason some of these brands have survived 300 years is because they’re really good products but in recent years the beer hasn’t been stored or distributed well so we’ll really be focusing on that.

“You have to look after those casks every day.”

The Tallyman will have a strong focus on seafood - image supplied by Our Yummy Collection
The Tallyman will have a strong focus on seafood – image supplied by Our Yummy Collection

key details: The Tallyman

The Tallyman is set to open to the public on September 10, 2026, at Chancellor Passage in Canary Wharf.

A ballot is currently in operation here for tickets to the launch event.

Find out more about the pub here

Read more: Discover the extraordinary maps and prints at Frontispiece

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Kitchen Jam on how to play the riff to David Bowie’s Rebel Rebel

Music school offering guitar and bass lessons in Canary Wharf and Stratford on the classic track’s east London links and how to handle the hook


Sit down with that six-string and get strumming - image by Jon Massey / Wharf Life
Sit down with that six-string and get strumming – image by Jon Massey / Wharf Life

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In the first of a series of regular collaborations with Canary Wharf’s guitar school, Kitchen Jam, we take a look at the history of a track with a local link and deliver some tips on how to play it


All the chords you'll need to play Rebel Rebel by David Bowie - image by Wharf Life
All the chords you’ll need to play Rebel Rebel by David Bowie – image by Wharf Life

looking back on the history of the track and its link to Docklands

BY ZAINAB HASSAN

Picture this – it’s early 1990, and David Bowie has just announced the Sound+Vision tour, a series of gigs where he’d play his biggest hits live for the very last time. 

Rather than choose the setlist himself, he handed the decision to his global fanbase through telephone voting.

Dial 1-900-2-BOWIE-90 on your landline, and you were taking your chances at getting your favourite track onto the bill. 

As calls flooded in from every corner of the globe, Bowie built the setlist from a mix of UK votes, American votes, and requests from everywhere else in between.

It was a truly global selection, curated to reflect what the world wanted to hear.

echoing on the island

For three nights that March, the tour landed in the capital at the London Arena, an indoor venue on the Isle Of Dogs that held up to 15,000 fans. 

Demolished in 2006, the landscape is markedly different to when Bowie’s genre-shifting hits were last played, but the echoes of his riffs still resound in the hands of guitarists to this day.

glam rock swagger

The Sound+Vision tour setlist was shaped with deep cuts standing shoulder to shoulder with Bowie’s biggest hits. 

One such song, Rebel Rebel, came early in the setlist. Salvaged from a scrapped Ziggy Stardust musical, it was the lead single for 1974 album Diamond Dogs and was the last of Bowie’s singles to swagger with true glam rock bravado. 

Deceptively simple, yet roaring with a Rolling Stones-esque ferocity, the main riff loops around three chords – D, A and E – and an unrelenting descending melody that’s as instantly singable as it is impossible to shake.

the end of two eras

As a swan song to glam rock, Rebel Rebel was the end of an era for Bowie. 

The Sound+Vision tour was the end of another, as he retired the hits from his live sets for good. 

Two farewells, made decades apart, overlapped for three nights at the London Arena. 

But all these memories remain in music. Just listen to that rebellious opening riff – it all comes flooding back.

  • For those who’d like to know more, east London is also now home to the David Bowie Centre in Stratford. 

Based at the V&A East Storehouse, the collection includes more than 90,000 items from the artist’s archive and is free to visit.

key details: Kitchen Jam


Kitchen Jam offers guitar lessons rooted in musical connection and community from its studios in Canary Wharf and Stratford.

Follow this link to find out how to book a free trial session 

Read more: Discover the extraordinary maps and prints at Frontispiece

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Greenwich + Docklands International Festival returns with We Move

Annual free outdoor arts showcase presents its 31st edition on Greenwich, Woolwich, Romford, Thamesmead, East Ham and Stratford


Efectos Especiales (Special Effects) is set to be performed on Greenwich Peninsula on August 29 and 30, 2026 as part of the Greenwich + Docklands International Festival - Image by Matheus Jose Maria
Efectos Especiales (Special Effects) is set to be performed on Greenwich Peninsula on August 29 and 30, 2026 as part of the Greenwich + Docklands International Festival – Image by Matheus Jose Maria

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“I feel it’s needed more than ever,” said Bradley Hemmings, artistic director and founder of the Greenwich + Docklands International Festival.

Set to return to east and south-east London and beyond, this year’s programme of free outdoor performances will run from August 21 until September 6, 2026.

Having given nearly a third of a century to curating and producing the annual event, Bradley’s enthusiasm is undimmed as he and his Greenwich Peninsula-based team prepare for its 31st edition.

“The theme this year is ‘We Move’ – we wanted to respond to what the festival does best, which is to give everyone a bit of a lift,” he said.

“Those wondrous moments in public spaces that are created as part of our programme are exactly that and it’s important that they are free and accessible to everyone.

“For the theme, we took inspiration from a common expression used by young Londoners to indicate when they’ve put an issue to one side so they can get on with their lives.

“We want to embody that spirit of resilience you see in this city – the way people make things happen and get on in difficult times.

“All our events are open to everyone, but we’re especially thinking about how we engage with young Londoners in 2026.”

360 will open the festival in Woolwich - Image by Duy Laurent
360 will open the festival in Woolwich – Image by Duy Laurent

opening in Woolwich

This year’s programme kicks off, as is traditional, in Woolwich’s General Gordon Square with a 55-minute performance of 360 at 7pm on August, 21.

“It’s an amazing dance theatre spectacle, that’s getting its London première,” said Bradley.

“The performance takes place on a multi-tiered stage with energising music and a real sense of connection with the challenges that young people face – but it’s also full of hope and possibility.

“The audience will get drawn in until the line between who’s watching and who’s performing is blurred.

“It’s been created by an incredible French choreographer called Mehdi Kerkouche of CCN De Créteil Et Du Val-De-Marne and we’re really excited to be bringing it here.”

Next up, running over August 22-23, is Greenwich Fair.

Returning to Greenwich Park it boasts an extensive schedule of events.

“This is another festival institution and the new location was hugely successful last year,” said Bradley.

“It’s a setting that audiences really appreciate – it’s relaxed and the tree cover is quite useful at this time of year.

“There are incredible views and the programme we’ve put together is great.

“There will be children’s games, dance performances and installations.

Do Birds Dream Of Flying? by Fabla Collective from Slovenia will be one of the highlights and I’m also really looking forward to Inertie by the French company Underclouds CIE, who perform using a circular frame that’s very reminiscent of a sundial.

“In the context of the Royal Observatory Greenwich, it will be a nice thing to see alongside. 

“Then there’s ElevateHer by Daughters Of The Wire, which has a feminist perspective and a joyous soundtrack that celebrates the heritage of women as circus performers.

“Regular visitors to our events may remember that one of the directors of the company performed on the high wire back in 2018 at the Old Royal Naval College in a piece created to mark the anniversary of women’s suffrage.”

The UK première of Benched will be part of Dancing City - Image by R+Solholm
The UK première of Benched will be part of Dancing City – Image by R+Solholm

branching out to Romford

Romford Market will be the setting for a pop-up son et lumière show on August 28 and 29 as the festival reaches out to Essex with Meet Me By The Fountain.

Variable Matter’s presentation takes inspiration from a lost water feature, using video projections and sound to span nearly 800 years of history and take audiences through into an imagined future.

Similarly transformational, Efectos Especiales (Special Effects) is an Argentinian show by Luciana Acuña and Alejo Moguillansky that casts the audience as part of a live film shoot as they follow a dancer past a truck with blaring music before the elements erupt, thunder rolls and snow falls.

“This will be staged over August 29 and 30 on Greenwich Peninsula, which is another of the festival’s long-standing destinations,” said Bradley.

“We’ve worked there since 2017 and we try to do new things each year.

“Our offices are based there and we’re very much a part of the creative district.

“I saw the show in Paris and it’s beautifully staged – a very beautiful piece with wind, rain, smoke and fire.

“It’s one of the pieces we’re able to bring to the festival through support from Without Walls, which works with events nationwide and allows productions to tour across the country.”

I Have No Name forms part of Nature Speaks in Thamesmead - image by  Vidy Lausanne
I Have No Name forms part of Nature Speaks in Thamesmead – image by  Vidy Lausanne

dates for the diary

Other diary dates for readers to note are September 3 and 4 in Queen’s Market Square in Green Street for Chair! and Kismat Walla and September 4 and 5 for Nature Speaks in Thamesmead.

The latter is a two-part immersive storytelling experience in the Tump53 Nature Reserve featuring imagery, music, sound and voice.

The penultimate major pop-up event in GDIF’s programme is then set to take place on September 5 when Dancing City returns to Stratford.

Bradley said: “We’ve packed the schedule with shows, having established a really strong relationship with Sadler’s Wells East and the Queen Elizabeth Olympic Park.

“This includes the UK première of Benched by a Danish company called Uppercut Dance Theatre. It’s a very high energy piece featuring five dancers. 

“There’s also a specially commissioned production from Fuse Theatre called Man Down, which explores issues around toxic masculinity.”

GDIF is set to conclude back in Woolwich’s General Gordon Square with a performance of (In)visible Dancing on September 6.

Bradley said: “This is by the fabulous Protein, a phenomenal company based in Woolwich, and audiences are in for a real treat as the choreography builds throughout the town.”

key details: Greenwich + Docklands International Festival

The Greenwich + Docklands International Festival is set to run from August 21 until September 6, 2026, across a variety of locations.

Performances are free, outdoors and accessible.

Full listings and timings are available via the official website

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The Space hosts Tech Academy to offer taster of arts careers

Two-day intensive session for those not in employment, education or training offers crash course in sound, lighting and stage management

Tech Academy is a two-day crash course in technical theatre skills at The Space - image by Jon Massey / Wharf Life
Tech Academy is a two-day crash course in technical theatre skills at The Space – image by Jon Massey / Wharf Life

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“The aim of Tech Academy is to give people a crash course in the technical aspects of theatre production – hopefully to act as a springboard that will get them into long-term careers,” said Matthew Jameson, artistic director at The Space on the Isle Of Dogs.

The Westferry Road theatre and arts centre is running a two-day session for up to 15 people who are living in Tower Hamlets and are not currently in education, employment or training.

It’s intended as a gateway to working in the sector.

The pilot scheme, which is supported by the East End Community Foundation, aims to give participants a solid grounding in the key technical elements needed for a fringe theatre show – lighting, sound and stage management. 

“Across two intensive days we’ll deliver an introduction to all things technical,” said Matthew. 

“The staff here, including our executive director Sarah Reed, have a wealth of experience in the industry to pass on – we want to provide an environment where people can learn safely and fail safely so they get a real understanding of what it’s like to work in this environment.

“We cover vocabulary and terminology because it can be terrifying for people to feel out of their depth if they don’t know the right words to use.

“There’s a lot of jargon and we’re here to demystify and clarify what’s happening.

“We’ll also be showing people all the equipment, how to set it up, treat it with respect and use it in a safe and responsible manner.

“The course covers things like manual handling, working with ladders, hanging, focussing and programming lights.

“The idea is to cover everything to see a show through from setting it up, pressing the buttons to make it go and then clearing up at the end.

“It’s every single step you need to be aware of to work behind the scenes on shows at venues like ours or in bigger theatres.”

Artistic director at The Space, Matthew Jameson - image by Jon Massey / Wharf Life
Artistic director at The Space, Matthew Jameson – image by Jon Massey / Wharf Life

opening doors to opportunity

While the course doesn’t lead to a formal qualification, The Space hopes it will result in opportunities both within its own programming and at other venues. 

“We’d like this pilot scheme will develop into a longer-term programme at The Space in the future,” said Matthew.

“The uptake has been fantastic so far and there’s clearly potential to take it further, which is what we’d like to do in the future. 

“There is an identifiable need here and we want to help people explore careers in this sector. 

“We really hope these Tech Academy sessions are the springboard for participants to find a discipline they love and identify with.

“While the course covers a range of skills, for longer term opportunities people tend to gravitate to a particular area.

“They might prefer working with lighting to sound, for example.

“We hope these sessions will help participants discover those pathways.

“That might be more on the stage management side – learning how to mark up the props table and how to run a show safely and efficiently back stage.

“It can also be very important for theatre-makers, directors, writers and actors to understand how it all works – what’s possible and what roles everyone is playing when they’re doing the fluffier side of creating performances.

“In the end, all the departments have to work together to make something far greater than any of them are capable of individually.

“This is something I’ll always love about live theatre – that the planning and talents of a group of people can come together to create something extraordinary.

“That’s when performance is at its peak – a well-oiled slick machine, where actors are not bumping into the furniture, everything is exactly where it should be, the sound and lighting are perfectly in sync and the audience are responding to it.

“It’s just wonderful to see.”

Participants get a grounding in a range of skills including how to work safely at height - image by Jon Massey / Wharf Life
Participants get a grounding in a range of skills including how to work safely at height – image by Jon Massey / Wharf Life

a grounding before specilisation

While the Tech Academy sessions are intended to deliver a good grounding, they’ve also been designed to test participants. 

“We set up what we call obstacle courses up as part of what we’re doing and an element of one of those is where Sarah and I perform a short, two-page scene,” said Matthew. 

“We’re going to be asking the participants to operate a series of sound and lighting effects based on the scene as though we were doing a real performance.

“But actors can be fallible. What happens if one of us makes a mistake?

“Maybe some things will go wrong. That’s just show business.

“One of the lessons we aim to pass on is that live theatre is unpredictable and anything can happen.

“We have to be prepared as theatre-makers to find a way through, to keep that audience there and engaged.

“It’s really important to recognise the power that technicians have and their responsibility.

“Theatre relies on the power of the imagination – the incredible acts of trickery by the people audiences don’t see so that sounds, music and light can help transport them and set their pulses racing. 

“That making all of those happen at the right time for what’s happening on stage is also a performance and takes real skill.

“I hope that the people who participate in Tech Academy will feel that technical theatre is demystified and is a real and plausible career that they can consider.

“People should know that it’s not highly specialised, that you can learn the buttons to press and see the routes through to get gigs.

“Hopefully, this time next year, they’ll be preparing to go up to the Edinburgh Festival, and a couple of years down the line, they may be touring internationally.”

The sessions cover sound, lighting, stage management and more - image by Jon Massey / Wharf Life
The sessions cover sound, lighting, stage management and more – image by Jon Massey / Wharf Life

key details: Tech Academy at The Space

The Space on the Isle Of Dogs is currently recruiting participants for its next two-day session – set to take place in August or September, 2026. 

Applicants should be Tower Hamlets residents who are not in education, employment or training.

The course is free to attend and includes lunch and snacks.

The application form can be found here on its website.

Tech Academy takes place at The Space on the Isle Of Dogs' Westferry Road
Tech Academy takes place at The Space on the Isle Of Dogs’ Westferry Road – image by Jon Massey / Wharf Life

Read more: Discover the extraordinary maps and prints at Frontispiece

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Frontispiece deals in maps and antique prints at West India Quay

Based at Cannon Workshops, Reg Beer’s business offers and archive of more than 1million items as well as a bespoke framing service


Frontispiece managing director, Reg Beer - image by Jon Massey / Wharf Life
Frontispiece managing director, Reg Beer – image by Jon Massey / Wharf Life

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Reg Beer is sitting in his workshop, premises that house an extraordinary collection of maps and antique prints from Docklands, Britain and all over the world.

It’s an archive that now extends to more than a million individual documents and images.

Frontispiece is the business he established in 1989 to trade in such items, later adding a framing service as a natural extension to its operation. 

It – like Reg – continues to have a storied existence and deserves to be a natural point of exploration for anyone moving to this part of London and seeking something of the place they’ve relocated to.

It’s also a fantastic resource for interior designers seeking to bring an authentic connection to history in their creations.

Reg began buying prints and documents as a teenager, initially from dealers and then at auctions in lots of multiple items. 

“I was interested in the history of east London when my dad was a lad in the 1890s,” he said. 

“People didn’t really have things on the wall when I was growing up apart from stuff like ‘Jesus Saves’ or ‘Welcome Home’ – no artwork. 

“But I’d put up these prints.

“A chap I used to buy from suggested I go to an auction and buy 500 prints in a single lot, keep the ones I wanted and then sell the rest on.”

Detail from Victoria Dock Canning Town and East India Docks Poplar antique map, 1902, £48 - image supplied by Frontispiece
Detail from Victoria Dock Canning Town and East India Docks Poplar antique map, 1902, £48 – image supplied by Frontispiece

from collector to dealer

However, it was some time before Reg would turn that enthusiasm into a business.

He worked as a “camera operator” for the press, snapping musicians and football games as well as garden parties at Buckingham Palace.

After about eight years of pressing the shutter, he “became fed up with that” and pursued another passion – the railway.

“I was a train-spotter as a kid,” he said.

“You’d be standing on the bridge and get swamped with smoke and steam. I became a fireman on diesel engines. 

“You see things from the footplate you can’t see from the train. I loved it.”

After a spell travelling, he returned to the East End to work as a labourer at Truman’s Brewery, before deciding – on the advice of his brother – to apply to university.

This was despite having no qualifications, having left school at 15.

After successfully negotiating the entrance exam, he trained as a teacher, returning to east London to work in the classroom – a career that took him through to the launch of Frontispiece. 

In his time, Reg has been a male model, photographed the likes of the Rolling Stones, the Yardbirds and Duke Ellington and has been a magistrate since 1986.

He’s a Freeman of the City Of London, a former master of the Worshipful Company Of Poulters and has held the positions of deputy mayor of Tower Hamlets and trustee at Whitechapel Art Gallery. He also plays a mean blues on the mouthorgan.

Having originally opened at Tobacco Dock in Wapping when it became a shopping centre, Frontispiece relocated to Canary Wharf to become the first retail business to open on the estate in the early 1990s, trading successfully in the malls for many years. 

Today both his antique maps and prints business and framing services continue to operate from rooms at Cannon Workshops close to West India Quay.

Reg in the process of making a frame for a picture - image by Jon Massey / Wharf Life
Reg in the process of making a frame for a picture – image by Jon Massey / Wharf Life

an extensive inventory at Frontispiece

Like his life, Reg’s business contains multitudes.

His files and shelves are filled with images, documents, clippings and maps that tell stories.

“I have a particular focus on Docklands,” he said.

“For example, I have more than 500 images of the Great Eastern – Isambard Kingdom Brunel’s ship, which was built on the Isle Of Dogs as well as pictures of the engineer himself.

“Those are some of the most popular items we have.

“People also like to have maps of the places they’re living in and images of how these places used to be.”

Frontispiece has digitised more than 6,000 items, which are now available through its website. 

Those browsing there will find everything from pages from The Illustrated London News in the 19th century to prints of flower fairies, sketches of ladies’ fashions, maps and images of maritime history.

There’s also a strong focus on military history, with Reg passionate about The Royal Regiment Of Fusiliers – based at the Tower Of London – which his father served with during the First World War. 

Detail from Pheasants And Peacocks antique print, published 1862 in Oliver Goldsmith’s A History Of The Earth And Animated Nature, £45 - image supplied by Frontispie
Detail from Pheasants And Peacocks antique print, published 1862 in Oliver Goldsmith’s A History Of The Earth And Animated Nature, £45 – image supplied by Frontispiece

fit for the wall

“We started offering frames while we were still at Tobacco Dock,” said Reg.

\“I’d met a chap at a trade fair who would come down from Bedfordshire with the sizes we needed. 

“But he didn’t want to keep doing that, so he taught me and people started coming to us for that service.”

Whether for his maps and prints or a client’s own pieces, Reg offers a bespoke service in wood and metal.

One notable client is Sir Michael Caine’s wife, who had the actor’s medals framed for him from his time in the Fusiliers as a gift on his 90th birthday.

Frontispiece also created a golden frame for King Charles, who’d donated a copy of his favourite photograph of himself as a boy with his late mother to a charity auction, raising £35,000 for Great Ormond Street Children’s Hospital.

“We’re more than happy to discuss any job and if we can help, we will,” said Reg.

“Most people these days want frames that are quite simple, although some want designs that are more grand.

“The cost depends on how big the item to be framed is and the materials we’re using – what moulding we choose.

“We have all sorts of woods and metals in stock to suit what people want, starting at 48p per inch.”

As for the prints and maps, prices vary depending on size and rarity, but many are listed around £35 or £45.   

Detail from Great Eastern steamship’s screw engine room antique print, 1859, from The Illustrated London News, £40 - image supplied by Frontispiece
Detail from Great Eastern steamship’s screw engine room antique print, 1859, from The Illustrated London News, £40 – image supplied by Frontispiece

key details: Frontispiece

Frontispiece is located at Cannon Workshops on West India Quay and is open from 8am-6.30pm on weekdays and from 10am-5pm on Saturdays.

Customers can browse antique maps and prints on the business’ website and also place orders.

This image has an empty alt attribute; its file name is Screenshot-2026-07-10-at-22.39.22WEB.png
Detail from Leviathan (Great Eastern) during building at Millwall antique print, 1857, £40 - image supplied by Frontispiece

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Detail from The City from St Paul’s to the Tower of London antique map, 1890, £40 - image supplied by Frontispiece
Detail from The City from St Paul’s to the Tower of London antique map, 1890, £40 – image supplied by Frontispiece
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SWR Business Direct allows firms to track employees’ rail travel

South Western Railway’s fee-free ticketing platform encourages organisations to move corporate journeys onto trains for multiple reasons

Surbiton Station is listed and has appeared as a location many times on film - image by Jon Massey / Wharf Life
Surbiton Station is listed and has appeared as a location many times on film – image by Jon Massey / Wharf Life

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ADVERTISING FEATURE

Kingston’s failure to embrace the miracle of train travel in the early decades of the 19th century was ultimately Surbiton’s gain.

Councillors feared (perhaps rightly) that the new technology might severely impact the local coaching trade.

Their opposition meant a planned line was re-routed to the south, with Surbiton Station opened in 1838 as the curiously named Kingston-Upon-Railway. 

Consequently, the neighbourhood benefits today from a direct, 17-minute connection straight into London Waterloo and frequent services, while Kingston station sits on a branch line to the north.

As a result, Surbiton has become a thriving suburban neighbourhood with a bustling high street that’s managed to resist – to some extent – an over-reliance on big name brands.

A talisman for the area, perhaps, the station looms large both physically and in the imagination. 

Built in the art deco style in 1937 by architect James Robb Scott, the white modernist structure is Grade II listed and has appeared as a location in both the very first TV adaptation to feature David Suchet as Agatha Christie’s Poirot in 1989 and more recently Harry Potter And The Half-Blood Prince in 2007.

The Lamb is just off the beaten track in the south-west London town - image by Jon Massey / Wharf Life
The Lamb is just off the beaten track in the south-west London town – image by Jon Massey / Wharf Life

There’s history beyond the tracks too, some of it echoing into the present.

For a while, Surbiton was home to John Everett Millais and William Holman Hunt of the Pre-Raphealite Brotherhood, both taking inspiration from the Hogsmill River in nearby Six Acre Meadow.

The former used it as the basis for his painting Ophelia, which now hangs in the Tate Gallery and inspired Taylor Swift’s The Fate Of Ophelia, its accompanying music video and the cover of her blockbuster album The Life Of A Showgirl.

The town is, or has been, home to a slew of famous faces including football manager Roy Hodgson, comedian Julian Clary, children’s author Enid Blyton and composer of The Wombles’ songs, Mike Batt. 

Perhaps part of its appeal is that there’s a real sense that you’ll find something of interest just a little way off the beaten path – the spirit of rebellion in suburbia once satirised in The Good Life, also set in Surbiton.

Not far from the station, for example, is The Lamb – a family run pub that traces its lineage back to a brewery that originally occupied the site on Brighton Road in 1855.

The Lamb boasts a quirky interior and a thriving live music programme - image by Jon Massey / Wharf Life
The Lamb boasts a quirky interior and a thriving live music programme – image by Jon Massey / Wharf Life

Today it’s operated by Adam and Liz Lewis under the philosophy that their establishment should truly be a public house – essentially their living room open to anyone passing.

There’s a strong flavour of silliness permeating everything within.

While the bar has a serious drinks offering with a focus on interesting beers, the decor embraces everything from the 1902 French sci-fi flick A Trip To The Moon, to Pan’s Labyrinth and giant hungry hippos.

There’s much live music on offer and a large garden complete with caravan, stage and a ramshackle collection of deep sofas sheltering under a series of gazebos. 

Visitors can expect a carousel of foodie pop-ups from the likes of Emma’s Kitchen, Happy Hill Kitchen, Smash And Hash and Little Ginger. 

There’s also a roster of musicians performing regular gigs such as singer songwriter Leonie Evans, indie band Baby Husband, pianist Joplin Parnell and jaz guitar duo Gypsy Dynamite.

You can find out more about the venue, including events and party listings via its website.


The City Arms is a little way out of the town centre - image by Jon Massey / Wharf Life
The City Arms is a little way out of the town centre – image by Jon Massey / Wharf Life

dine: The City Arms

>> Even further off the beaten track is this establishment.

Located overlooking Thames Ditton Marina, close to the River Thames on Portsmouth Road, this corner building is every inch a classic pub.

Visitors can expect plenty of whitewash, beams, dark tiles and hanging baskets and an interior that manages to be both bright and cosy at the same time.

For those who’d rather enjoy some fresh air, there’s also a large covered terrace overlooking the boats.

Sausage and mash at The City Arms in Surbiton - image by Jon Massey / Wharf Life
Sausage and mash at The City Arms in Surbiton – image by Jon Massey / Wharf Life

The menu reads very much as expected with a burger, chilli, scampi and the inevitable fish and chips.

But there are also a few less well-worn dishes including a full rack of ribs and a goats cheese pasta.

In the mood for tradition, however, we sample the Deep Fried Brie for £8.45 and the Sausage And Mash for £16.95.

The cheese arrives oozing from its crispy shells atop a bed of salad leaves, while a satisfyingly decent portion of potatoes and peas follows, swimming (as they should be) in onion gravy and topped off with three slender but tasty bangers. 


Joe says SWR Business Direct works on a fee-free model to help promote rail travel to businesses - image supplied by SWR
Joe says SWR Business Direct works on a fee-free model to help promote rail travel to businesses – image supplied by SWR

on track with SWR’s Joe Thurgood

Q

I run a business and it’s important we’re able to track where our employees are going. How does SWR Business Direct help firms keep tabs on where staff are actually travelling to and from? 

A

Think about your business’s biggest asset for a second. Is it your team?

Are they on the move? Does keeping track of them feel like a full-time job? Don’t worry.

You do not need to go full bloodhound or micro-manage every single step they take to stay in the loop.

Instead, just change how they get from A to B.

When it comes to business travel, hitting the tracks is a total game-changer. Rail travel keeps your team productive and safe. It’s also surprisingly easy to track.

Think about the classic road trip. It is a black box of stress. You have no idea if your employee is stuck in a jam or hunting for a parking space.

There are few things more annoying than staring at the back of a car when you’re trying to get somewhere and the minutes are ticking by.

This is also all time you’re paying them for.

With rail, you get a clear, predictable schedule. You know exactly where they are and precisely when they will pull into the platform.

Even better, your team will thank you for it. Instead of battling traffic, they can kick back in a comfortable seat, reply to emails, prep for the big meeting, or just take a power nap and recharge.

Plus, trains drop your people right into the heart of a town or city.

Ready to make your corporate travel completely stress-free? Manage it all in one place with SWR Business Direct.

This free-to-use platform lets you book any train across Great Britain with absolutely zero booking fees.

You will automatically get the cheapest ticket options, handy expense tracking, and detailed carbon footprint reports.

Switch your team to a smoother journey today.

Create your free account or email the team at businessdirect@swrailway.com to streamline your corporate bookings. 

key details: SWR Business Direct

SWR Business Direct is free to use and allows companies to book, plan and manage business travel across the whole of Britain. Find out more here.

There are no hidden fees or charges and no booking fees on tickets purchased via the operator’s service.

Users are also eligible for SWR Rewards, with full details available on its website.

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Lister Fertility Clinic expands with Canary Wharf satellite operation

HCA UK’s outpatients facility at 40 Bank Steet offers scans, tests and consultations to support patients’ treatment

HCA Healthcare UK's outpatients facility at Canary Wharf - image supplied by HCA UK
HCA Healthcare UK’s outpatients facility at Canary Wharf – image supplied by HCA UK

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“When I was studying medicine, I spent a lot of time as a student sitting around watching other people doing things,” said James Nicopoullos.

“But then I did my obstetrics and gynaecology rotation and got to deliver babies.

“That was when I began to feel like I was going to be a proper doctor.

“Up until that point, I didn’t really know what I wanted to do within medicine, so I started training in that field.

“Many of the consultants I worked for had an interest in fertility and so mine started to grow.”

Today, following extensive training and the publication of a research thesis in the field, James is the medical director at HCA UK’s Lister Fertility Clinic.

He’s also the “person responsible” for ensuring it complies with the high level of regulation in the sector as overseen by the Human Fertilisation And Embryology Authority.

Based at The Lister Hospital in Chelsea, we’re talking because HCA has recently opened a satellite fertility clinic at its 40 Bank Street Canary Wharf Outpatients facility.

Offering initial investigations, monitoring and treatment preparation, it extends the reach of the hospital’s operation, which includes procedures such as egg collection and embryo transfer.

Lister Fertility Clinic medical director, James Nicopoullos - image by Jon Massey / Wharf Life
Lister Fertility Clinic medical director, James Nicopoullos – image by Jon Massey / Wharf Life

supporting multiple visits

James said: “Fertility journeys aren’t always easy ones and there are lots of things to consider.

“However, once a decision is made to proceed with treatment, that often results in multiple visits to our clinics.

“We know that juggling life and work against the emotional and physical impact of a fertility cycle is not easy.

“That’s why we’ve created these satellite units – we know that being able to go somewhere closer to work or home can be really important to people.

“One of the things to consider is that, to get the desired outcome, people may have to go through multiple cycles of treatment, so making the process easier is really important.”

Canary Wharf joins The Shard Outpatients, The Beaconsfield Clinic and The Portland Hospital on the list of satellite locations operated by the clinic. 

In addition to providing treatment to help people conceive, the newly minted clinic also runs HCA UK’s Fit For Fertility health screening – a range of tests and a consultation designed to give them a picture of their reproductive health so they can make decisions for their future based on the best evidence available.

“This is a bit like an MOT,” said James. “In essence, it’s to look to see if there’s anything there which is prohibiting pregnancy now or that might do so in the future.

“For women, we take an ultrasound scan and a blood test to check for any physical abnormalities and to get an idea of the number of eggs she has.

“For men, we collect a sperm sample and look at the number and quality produced.

“Often fertility doctors are gynaecologists and focus on the female for obvious reasons, but it’s actually very common in the couples that come to see us that there’s a male factor when it comes to problems conceiving.

“If that might by an underlying cause we look at how we can improve the situation and what treatments are available.

“The majority of patients we see are people who have been trying for a certain period of time without success. Age is a really important factor.

“For many different reasons, people are seeking to have babies later in their lives at a point where fertility isn’t as good.

“Generally, the younger you are, the longer you can try before seeking help. 

“Fertility remains relatively consistent in women up to the age of 35, for example, and then egg quality and quantity begin to decrease.  

“From 37, that really accelerates and the chance of getting pregnant mirrors that. Also important to consider is that the same is true of IVF.

“If you’re sitting here at 30 and having a fertility assessment, and, even if you don’t get pregnant for two years, your chances of IVF working at 32 are still going to be very good.

“If you’re sitting here at 40 and everything looks OK, there will inevitably be a massive drop off in IVF success in the next two years. 

“This is why testing is important – having early conversations gives people an idea about how quickly they might need to move on to IVF if they want to have a child and aren’t able to conceive naturally.”

The satellite clinic is based at HCA's 40 Bank Street facility - image supplied by HCA UK
The satellite clinic is based at HCA’s 40 Bank Street facility – image supplied by HCA UK

making informed decisions

Age can also play a big part in IVF success rates, which drop the older the donor. 

“We are seeing more people nationwide who are thinking more about age, so are considering freezing,” said James.

“If you freeze a 30-year-old egg and then put it into a 20, 30 or 40-year-old, the outcome will be the same – the success rate is based on the age of the egg.

“There’s no guarantee IVF will work, but you are increasing your chances the earlier you freeze an egg. At age 30, it’s around 50% but it drops to 5% for women aged 45.”

For those just starting to try for a baby, James said lifestyle could be a factor in fertility, although people shouldn’t worry too much so long as they weren’t taking things to extremes.

“People shouldn’t be beating themselves up, worrying about an espresso they have in the morning or the two or three glasses of wine they have over the course of a week,” he said. 

“Moderation is key, as is eating well, looking after yourself and limiting stress. 

“I would say that smoking is definitely a negative factor – that’s also true for men when it comes to sperm production.

“Also for men, I wouldn’t want to see them spend five hours a day in a sauna, but having one once a or twice a week is not going to make a difference – it’s very unlikely that this is going to be the deal-breaker.”

Human eggs under the microscope
Human eggs under the microscope

case study: Fit For Fertility Screening

Knowledge is always power.

To that end, the Lister Fertility Clinic’s Fit For Fertility health screening service aims to provide men and women with key information about their reproductive health to help them make decisions for the future.

To find out what Wharfers can expect from the service, we sent Isaac, 44, and Fiona, 39, to try out the heterosexual couple package, which costs £690.

For both partners, the service includes a 30-minute consultation where relevant medical history, lifestyle advice and body mass index are discussed.

In addition, Fiona underwent an Anti-Mullerian Hormone blood test to assess her egg supply, an antral follicle count scan to identify the number of egg-producing follicles in her ovaries and a transvaginal ultrasound scan to check for conditions like endometriosis or fibroids that might affect her womb.

Isaac provided a sample of semen for analysis to assess sperm count, movement and shape.

A sperm sample as viewed through a microscope

>> “I’d never really given much thought to the quality and quantity of my sperm before,” said Isaac.

“So it was really interesting to receive my results and hear what our consultant, Timothy Bracewell-Milnes, had to say about them. 

“I supplied my sample at the Chelsea hospital, which was quick and efficient, although I understand soon the Canary Wharf clinic will be offering a service for patients to produce one at home, then drop it off.

“My count came back at 17million, 2million above average, although I was slightly below average on the quality.

“I had no idea only about 5% of sperm are capable of fertilising an egg.

“Timothy suggested taking a supplement to address this and was very thorough throughout the consultation.”

>> “Attending the clinic at Canary Wharf, the tests began with a series of questions about my cycle,” said Fiona. “I then had my vaginal ultrasound. 

“Every effort was made to make me feel comfortable and relaxed.

“The radiographer kept me constantly updated with what she was seeing and the progress of the scan.

“They then took blood for the hormone test to check the number of my eggs.

“I found the experience to be friendly and the everybody was professional and reassuring.

“At the consultation, Timothy explained the impact that age has on fertility.

“He said I had an above average number of follicles in my ovaries for my age and that this was good news in terms of fertility, indicating a larger pool of remaining eggs. 

“We also talked about other procedures on offer such as egg harvesting and freezing, the relative success rates and when they might be appropriate. 

“Everything was handled very sensitively and it was really convenient to be able to access these facilities so close to where I work in my office in Canary Wharf.”

key details: Lister Fertility Clinic at Canary Wharf

The Lister Fertility Clinic at Canary Wharf Outpatients is located at the HCA Healthcare UK facility at 40 Bank Street. 

It offers services including IVF, egg freezing, fertility testing and fertility treatments.

You can find full details, including prices, on the clinic’s website.

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