A pair of show homes are set to be unveiled on Greenwich Peninsula as developer and housing association L&Q turbo-charges its marketing efforts to sell apartments at Prime Point.
The new show homes, which can only be viewed by appointment, are located on the 19th floor and allow prospective buyers a glimpse into what life at Prime Point is like.
L&Q is also offering a 5% deposit contribution on selected private sale homes to boost affordability for buyers.
“Prime Point has been created with comfort, style and everyday living in mind,” said Claire Brenlund, sales and marketing director for L&Q.
“From the bespoke kitchens to private outdoor spaces and selected homes offering panoramic views, every detail has been considered to offer buyers a home they’ll love coming back to.
“What really sets Prime Point apart is the lifestyle it unlocks – waterside walks, cultural experiences, brilliant local amenities and unbeatable transport links.
“It’s a development that brings together design, convenience and a strong sense of place, making it an exciting choice for anyone looking to put down roots in Greenwich Peninsula.”
The show apartments are available to view by appointment – image supplied by L&Q
Prime Point connections
Located in the Brickfields area of the 150-acre Greenwich Peninsula masterplan, Prime Point is an eight-minute walk from North Greenwich station.
Connections from there put commuters in Canary Wharf in two minutes, in London Bridge in eight minutes and at Westminster in 13 minutes.
An extensive selection of bus routes also connect residents to a multitude of south-east London destinations.
Properties at Prime Point themselves include bespoke, handleless fitted kitchens with quartz worktops and integrated Siemens and Bosch appliances.
Each apartment boasts private outdoor space with many enjoying views over the surrounding skylines.
Facilities at the development include a concierge service, a residents’ lounge and landscaped communal spaces.
The area around the development continues to see significant regeneration work, building on the legacy of key attractions such as The O2, the IFS Cloud Cable Car, Design District and Ravensbourne University.
Greenwich Peninsula is becoming an increasingly desirable place to live, thanks to the arrival of a range of local amenities.
These include bars, restaurants and stores– especially the flourishing outlet shopping centre in The O2.
The Dial, a new sports bar and microbrewery, has also just opened its doors in the area, marking Meantime’s return to brewing beer in the borough.
Properties feature private outdoor space including some with views over the Thames – image supplied by L&Q
key details: Prime Point
Prices for a studio apartment at Prime Point start at £399,950. Deposits start at £19,998.
Shared ownership properties can also be reserved at the scheme and London Living Rent homes will be launching in due course.
Housing association NHG Homes has unveiled a winter incentive with buyers able to claim up to £6,688 cashback on selected one and two-beds when purchasing a new apartment from the organisation.
Launched in the run-up to Christmas, the offer applies to shared ownership properties at a number of developments across London.
The money can be added to a buyer’s deposit, used to purchase a larger share of the property or go towards covering legal costs for the transaction.
Alternatively, buyers can choose to keep the cash on completion of the deal and use it in whatever way they wish including buying furniture or covering moving costs.
Naturally, terms and conditions apply and buyers must complete within timescales set by NHG Homes.
Any cashback is payable up to 28 days after completion.
To give readers an idea of the kind of home they might expect to buy with the incentive here are two of the housing association’s developments where the offer is available.
The View At Aspect – image by NHG Homes
The View At Aspect
Located in Croydon and benefiting from the area’s extensive amenities, prices for a 25% share in a one-bed here start at £83,125.
NHG Homes says monthly costs for rent, mortgage and service charge start at £994 per month – around £400 less than renting a comparable property in the area – with buyers able to secure a home with a deposit of £4,157.
Prospective purchasers can expect properties featuring open-plan design, full height windows and bi-fold doors protecting private winter gardens that can be used all year round.
The scheme is located near East Croydon station which offers connections to Canary Wharf in about 20 minutes via national rail and the Jubilee line.
Those traveling further afield can get to Gatwick Airport in about 15 minutes. Wellesley Road tram stop is also nearby.
Locally, there are a wealth of restaurants, bars and attractions to explore including Boxpark, Wandle Park and concert venue Fairfield Halls.
The scheme offers a selection of residents’ facilities including a concierge service and a gym as well as landscaped communal gardens and on-site shops.
Offering one and two-bedroom pet friendly apartments, which all come with private balconies, prospective buyers can expect to pay from £1,028 per month to cover rent, mortgage and service charges.
NHG Homes says that equates to annual savings of about £6,864 compared with renting a similar property nearby.
Prices at the development start at £90,000 for a 25% share of a one-bed at the scheme, with buyers also enjoying access to the wider regeneration of the area just across the railway line.
This includes the wider open spaces of Cator Park, a pub and a collection of shops and amenities.
key details: shared ownership apartments from NHG Homes
Prices at The View At Aspect in Croydon start at £83,125 for a 25% share of a one-bedroom apartment based on a full market value of £332,500.
Prices at Kidbrooke Square in Greenwich start at £90,000 for a 25% share of a one-bedroom apartment based on a full market value of £360,000.
The much-loved skating facility is back on the Wharf, with sessions available right through until February 22.
This year there’s a new refreshment area, more ice to skate on, upgraded lighting and even churros for those in need of a sugar boost before or after they hit the rink.
Afterwards, the Oasis Bar stands ready to serve refreshments.
Tickets start at £13.95 or £49.95 for a family pass for four people.
GoBoat has an all weather solution for its hire vessels – image by GoBoat
This new venue includes an Ice Bar (from £24.95), a German Bierhaus with live entertainment and a lodge-style Chalet.
Created by Urban Playground – the team behind The Cube – the three venues offer a fresh, festive option for Wharfers looking to socialise or celebrate right through until February.
There’s even a stall selling saucy hot dogs.
The Bierhaus and Chalet will both take walk-ins, while booking is advised for the Ice Bar. Guests for the latter are advised to dress warmly as it’s kept at -10ºC.
Join the Rat Pack at Boisdale Of Canary Wharf – image by Boisdale
This venue has a truly packed festive programme over Christmas and New Year.
Having just launched its Highland Lodge terrace which offers heated tables and generous servings of fondue, there are also seasonal menus for lunch and dinner to explore.
Visitors can expect the sounds of the Rat Pack and plenty of festive cheer throughout December as well as a blockbuster New Year’s Eve celebration that’s certain to run on into the small hours.
Book early to avoid disappointment.
Marceline is hosting The Curling Club on its terraces – image by The Curling Club
The floating restaurant at Wood Wharf has teamed up with The Curling Club to offer Wharfers something a bit different over the cooler months.
In place until February 28, 2026 – anticipating the Winter Olympics, the venue will have five lanes for guests to use with a range of options for larger groups and office parties.
Pay and play sessions start at £15, while standard package offers include an hour of curling with a meal and a drink for £45.
The club already runs successful sites in Chelsea and Vinegar Yard.
Jo Malone’s special event is set to take place from December 4-6 – image by Jo Malone
Emily Dickens’ career began, as many do, with a desire to move to London.
Having studied archaeology, her initial interest lay in the museum sector.
But a friend from university had found a job at what was then peer-to-peer lender Zopa – a startup that was looking for staff.
“I contacted them, went in for an interview and, an hour later, was looking for a flat in London,” she said.
“That was the pace the business moved at back then and I think we still approach that today.
“At the time, I remember my mum saying I should wait for a better opportunity but I thought it was the right choice. I wanted to move to London and see what was out there.”
Today, Emily is head of people experience at Zopa, now a profitable challenger bank that recently relocated to 20 Water Street in Wood Wharf.
She’s among the individuals featured in Canary Wharf Group’s Where Ambition Lives campaign, which aims to tell the stories of remarkable people working on the estate that go beyond the stereotypes associated with the area.
So how did Emily go from working as a collections administrator – calling people up who’d missed payments on their loans to help them manage their debts – to working in a role at Zopa that she conceived and pitched to the company?
Zopa head of people experience, Emily Dickens, on one of the bank’s rooftop terraces – image by Jon Massey / Wharf Life
a career from the ground up
“After six months, I quickly moved into customers services and then on to managing that function,” she said.
“I had a brilliant manager at the time to learn from and I continue to use what she taught me about running teams in my work today.
“When I started at Zopa, we were a business of about 30 people. Now we have 1,000 employees in multiple locations including Canary Wharf.
“I’d gone straight from university into work and hadn’t taken a gap year.
“I wanted to travel so I did that, visiting Australia, New Zealand and Bali – seeing a bit of the world on a sabbatical.
“While I was away, my boss rang me up and asked me to come back and set up an HR department at Zopa.
“So, I returned and, in the first year, did everything in HR you can imagine – the full employee life cycle.”
With Zopa deciding to launch a bank, Emily continued to build her career alongside the operation before doing something a bit unusual.
“I decided to pitch my dream role to the business after my boss left,” she said.
“I’d spent so much of my early career in HR, I got to figure out what I really loved and also the things I wasn’t so good at.
“Systems operation and data are not my bag – they are not where I excel and it’s not where the business gets the best from me.
“But I was also able to identify the things I loved and pitch them as the basis for the role of head of people experience to my new boss.
“She shared my vision that this was the right direction and started me off as people experience lead. I was then promoted to my current role after a year.
“While people experience is a relatively new concept, it enabled me to come to work every day feeling like I’m adding maximum value to the business.
“My latest boss has also supported me with my dream and vision – much of which has been focused on building this new workspace for Zopa in Canary Wharf.”
Zopa’s floors are connected by an internal stairwell – image supplied by Zopa
a new space for Zopa
Arranged over the building’s upper levels, the bank has fitted out 45,000sq ft of space with facilities fit for its Zopians.
Designed by Thirdways, these include an internal central staircase, kitchens, breakout rooms, private work pods, a library and quiet spaces for prayer, breastfeeding and reflection.
It’s a project Emily has been deeply involved with, as she works to make the business as employee-friendly as possible.
“I hope people see that it’s a total reflection and statement of intent of who we want to be in the future,” she said.
“When you look down from this window at the very traditional banks, there’s a feeling here that we’re doing something really different.
“We’re trying to build an effortless customer experience with products that maximises value for our customers.
“It’s an exciting time, and I’m really proud that we’ve been able to collaborate with Canary Wharf and bring Zopa here.
“After the idea was pitched to us by an agent, we looked at 20 Water Street and I felt it was worth putting my neck on the line and make a compelling argument that this was the space we needed to be in.
“When I brought the leadership team here, our CEO could see why.
“To get him over that hurdle – to look at the space and see its potential – made me feel very confident that it was the right thing to do and we could get to a place where we could sign the deal.
“The economics were also compelling. It would have cost us the same amount to remain in our existing offices in a very old building because of the maintenance issues.
“It was never a place where the company could have grown further.”
Zopa’s new offices aim to reflect the bank’s values – image supplied by Zopa
how spaces can help retain and attract talent
Located in Wood Wharf – an area that has recently welcomed the likes of Crate, Nora, Ong Lai Kopitaim, Cafe Seek and festive pop-up The Winter Club – 20 Water Street is now filled with Zopians settling into their new neighbourhood.
Emily said: “I don’t think people want what they once did from a workplace, so we didn’t want this design to feel like an office where you would just come and work.
“You’re also living your life while you’re here, so that time needs to be very enjoyable.
“If we can attract and retain great talent, the business can be very successful.
“When you look at the design – including elements such as a mothers’ room for example – it’s important to remember those parts of people’s lives don’t go away because they’re at work.
“They need to be able to come to this space and be happy here – as happy as they are at home.
“Our mission at Zopa is to create the home of money, but one of the things we thought about with regard to our office design was that we wanted it to be a place where our employees could grow and explore their ambitions too.
“Our London staff work at least two days a week in the office because human interaction is very important.
“It’s also important for our workers that we maintain balance.
“We did a great deal of staff engagement with this project.
“Before we signed the lease, we brought a group of about 30 Zopa influencers across and I took their views.
“There was nothing here for them to see at that stage, so we got a range of views about the area and the feel.
“When we decided to come here for definite, we brought over 300 employees for tours and got lots of feedback from that.
“The staff then chose the names for the floors and we also asked them what they wanted in there to make that part of their life at work as comfortable as possible.
“It’s so important to get feedback from the people who will be working here.
“We hope what we’ve done here is a recipe for success.”
A library has been created for quiet reflection and focused work – image supplied by Zopa
why Canary Wharf?
When asked what advice Emily would give other organisations considering a move to the Wharf, she said listening to the right people was key.
“I’d say consider every option, because Canary Wharf wasn’t on my radar originally,” she said.
“It was an expert in the field who came to me and told me there was something really special happening here.
“The prices were good, so commercially it works and also a neighbourhood that pairs favourably with the business.
“Being prepared to do something different is also important.
“Wood Wharf is amazing and we’ve been collaborating with the businesses here already. We’ve also done a lot of work to ensure staff find the more hidden parts of the estate.
“The fact we have the DLR, the Elizabeth Line and the Jubilee line all on the doorstep is great.
“I live in Woolwich, but this location is also fantastic for people coming in via Paddington too.”
A communal dining area and kitchen at 20 Water Street – image supplied by Zopa
pride in the journey
As for Emily, she’s allowing herself a breath before making any plans for the future.
“I can’t think about what’s next until we’ve completely wrapped up the move and got our sign up,” she said.
“Then I’ll probably take a moment, a pause.
“The bank has ambitions to continue our growth plans and build innovative products and hopefully create long-lasting relationships with our customers.
“We launched our Biscuit Bank Account earlier this year and we have more exciting things planned.
“The only way is upwards – we’ll see what happens next.
“For now, I feel incredibly proud of what we’ve created – it’s a testament to the fact that my whole project team have worked unbelievably hard over the last 12 months to get us to this place.
“When you look at where we are now, you can see the journey that Zopa is on.”
The bank’s new space features plenty of break-out areas and meeting rooms – image supplied by Zopa
key details: Zopa
Zopa is based at 20 Water Street in Wood Wharf and offers a wide range of services including its Biscuit Bank Account.
You can find out more about the bank on its website here
Piano Piano translates from the Italian as “softly, softly” and pretty much sums up Andra Kruka’s approach to teaching children to make music.
As headteacher and founder of Piano Piano Studio, she’s spent nearly a decade in east London helping children develop their playing and singing skills as well as the joy of performing in public.
“I’m Latvian, from Riga, and I’m a classically trained pianist and harpist,” she said.
“My musical education was pretty strict and, when I came to the UK, I saw a huge difference in the mentality of the approach taken here – I really liked that it’s a lot more focused on the personal interests of the children.
“Nobody is trying to turn them into professional musicians on the spot.
“By the time I had finished studying piano and harp, I felt burnt out, which is the downside of the East European method of teaching music.
“There’s a lot of pressure.”
After coming to the UK, Andra initially took a different path, studying business and management from 2013 and then working in marketing.
Piano Piano Studio headteacher and founder, Andra Kruka – image supplied by Piano Piano Studio
creating Piano Piano Studio
“But I realised that I really missed music, so I started researching the structure of education here,” she said.
“Then I took my first steps into teaching and it’s grown from there.”
“I always tried to find a balance between making sure the kids are engaged and delivering good results and that’s how I’ve developed the method we now use across all of our lessons,” said Andra.
“We give a questionnaire to the families as a basis for our journey with them – this is to identify the child’s interests, likes and dislikes, favourite movies,things like that, so we can tailor the lessons to each child individually.
“Unlike some music schools where each teacher has their own approach, we ensure all our tutors are consistent in the line they are taking and adapting to each child’s needs.
“That’s important because the kids are all different. Some are more visual, while others might learn by ear.
“Whether it’s by using different materials, exploring improvisation or using other techniques we can make sure every child is able to succeed.
“We might start the younger ones on the Associated Board Of The Royal Schools Of Music (ABRSM) or Trinity College exams, but think again when they get older.
“Instrumental practice might not be a priority later on, so we offer different options such as Rock School, where you can do keyboard certification with fun pieces and backing tracks.
“There’s always flexibility to find a personalised solution – parents might want their child to do the more traditional exams and we can find a compromise that keeps the pupil interested.
“I’m a teacher myself, but I’m also a methodologist, constantly researching different approaches and trialling new techniques to make sure we’re offering the best education possible.
“Having a shared approach like this with all the teachers also creates a community feel, even though the lessons themselves are one-to-one.”
The music school uses a wide range of techniques to help children learn – image supplied by Piano Piano Studio
showcase concerts
Bringing people together is important to Andra for a number of reasons.
Piano Piano Studio currently teaches just under 60 children and regularly puts on concerts aimed at both entertaining the youngsters and giving them a platform to get used to performing themselves.
Andra said: “We had our first concert in 2018 – it was just my students at that time and it was Disney-themed. I wanted to make sure it was relevant to the children so that they could have fun and dress up as their favourite characters
“It was a great experience, everyone enjoyed it, and since then we’ve organised several more including events at The Space on the Isle Of Dogs and through them at Crossrail Place Roof Garden in collaboration with Canary Wharf Group.
“Then we came up with a new concept when I saw a huge demand and interest from families.
“We now open up slots from external players as well alongside offering fun activities.
“There will be student and guest performances, face painting, balloon modelling, a magic show, games with the audience and a special guest.
“It’s a fun environment and it’s a chance for the children to get on stage in an easygoing environment.
“I feel that the earlier musicians do this and have a positive experience, the easier they will find performing.
“Learning an instrument can be a lonely activity, because you have to practise by yourself.
“Having these group gatherings where they can be with other children in the same boat and can see different levels as well is so important.
“We go from Twinkle Twinkle Little Star up to pieces for grades seven and eight.
“At the end we intend to have a performance by a professional pianist so that children can see what the instrument can do.
“These things can be inspirational. The children who perform get a certificate and receive applause.
“In some cases they might only have had a few lessons but they don’t have to wait years to touch a grand piano on stage.
“The concerts are big family events, and anyone can come, so, afterwards, we get loads of requests from the parents of new students.
“I believe we are all born to be musical and everyone can find their own way to express themselves through music.”
Students of all levels get a chance to perform at the concerts – image supplied by Piano Piano Studio
key details: Piano Piano Studio
Piano Piano Studio’s next concert – The Polar Express – is set to take place at The Space on the Isle Of dogs on December 14, 2025, from 11am.
Tickets cost £10 for adults and £8 for children.
These can be booked via email to admin@pianopiano.uk.
In-home lessons cost £52 per hour with a visiting teacher or £42 for online sessions.
However, Andra and the team work out an appropriate lesson length with parents which is often less that 60 minutes, especially for younger kids and beginners.
…a warm, fluffy blanket is tucked around me as I sit back onto the Vibro-Acoustic Bed in a softly lit, curtained-off alcove at the Recovery Spa in Third Space Canary Wharf.
An eye mask blocks out the world and a comfortable pair of headphones are placed over my ears.
My arms swaddled and, despite the calm explanation of what’s going to happen, I’m tense.
Then the programme starts.
My ears fill with sound and the vibrations begin. Simultaneously, the bed tips back.
Without my senses to guide me, it feels as though I’m falling into a void, the powerful waves of the bed confusing my sense of balance.
Am I floating, descending, being immersed in something? I can’t tell.
But, snugly cocooned, there’s no fear.
The wash of aural effects – music, waves, white noise, at stately, low frequencies are briefly overwhelming before my brain stops trying to make sense of what’s happening and gives in to the incomprehensible balm of relaxation.
My nervous system switches off and I lose track of time.
After about 20 minutes the machine brings me round and I take a profound feeling of physical and mental relaxation with me as a I leave the spa…
You’ll sleep well tonight,” said Adele Rowley spa manager at Third Space Canary Wharf’s Recovery Spa as she helps bring me back to reality after my Vibro-Acoustic Bed treatment.
She’s right. I do. A solid, delicious, unbroken nine hours that same night – the result perhaps of the sheer intensity of the vibrations and carefully calibrated sounds.
The treatment isn’t subtle, but its overwhelm is undoubtedly effective in my case.
Spa manager at Third Space Canary Wharf, Adele Rowley – image by Jon Massey / Wharf Life
lying back, switching off
“It’s my favourite too, because I find it difficult to turn my mind off,” said Adele.
“I’m always on the go, but as soon as I’m on the bed it’s like the switch has been flicked.
“As it tilts back and the waves of sound start to come through the headphones, it’s like you’re being submerged in the ocean.
“It really helps me relax and sleep.
“We’ve had members with terrible insomnia who are lucky if they get three or four hours a night.
“After 24 minutes on the bed they’ve had a full night’s rest – they’re blown away.
“Some fall asleep during the treatment itself.
“But it does more than that, we have lots of different programmes for people to try, including sessions focused on meditation, breathwork, sleep and even weight management.”
The bed’s blend of vibrations and sounds aims to activate the parasympathetic nervous system to boost rest and recovery, lowering levels of cortisol and promoting endorphin release.
In addition, the physical stimulation may help alleviate pain in the body and aid physical recovery after exercise.
The bed is one of three headline treatments that make up the core offering at Third Space Canary Wharf’s Recovery Spa.
The others are facilities to deliver cryotherapy and red light therapy.
The Canary Wharf spa boasts a medical grade red light therapy bed – image supplied by Third Space
get more with a Recovery Membership
“The standard Recovery Membership costs £115 per month and includes two sessions on the Vibro-Acoustic Bed, two under red light and two in the cryo chamber,” said Adele.
“More people are opting for Recovery Plus, which includes four sessions of the first two treatments each month and unlimited cryo for £195.
“In practice you get a lot more for your money as people often like to do three minutes of cryo before they train.
“People feel energised, it helps them exercise for longer at a higher intensity.
“Then, once a week they might do all three treatments in a single day with cryo first for that buzz, then red light to calm everything down and then the Vibro-Acoustic Bed for relaxation.”
Cryotherapy cools the skin in a chamber chilled to around -85ºC with the aim of stimulating circulation, reducing inflammation and boosting oxygenated blood flow, all from a three-minute burst.
“Then there’s red light therapy, which is as much about prevention as it is about recovery,” said Adele.
“We have a medical grade bed that emits three different wavelengths of light.
“They penetrate the body to different degrees to help stimulate collagen production, boost energy in your cells and repair muscles to help them recover.
Sessions last 20 minutes. Members who get regular treatments can also expect improved athletic performance, better sleep and reduced inflammation as well as a reduction in fine lines and wrinkles.
“People have reported less soreness after exercise too.”
The gym’s cryotherapy chamber delivers three-minute treatments – image supplied by Third Space
beyond the core treatments
The spa also offers a wealth of other treatments, taking a broad definition of recovery as its core principle, with wellness in mind and body at the heart of the offering.
Adele said: “The introduction of the Recovery Memberships reflects the fact that Third Space isn’t just about training, it’s about preparing for it and what you do afterwards and how your feel.
“The spa continues to offer a range of treatments and therapies beyond the three above, including a wide range of facials, aesthetics, IV infusions and acupuncture.
“Like exercise itself, often the best results come through consistency.
“For example, we offer many massage treatments, but it usually takes a few sessions to work the lactic acid out of those muscles to help them relax.
“One of our most popular options at the moment is lymphatic drainage massage with both men and women choosing to explore the treatments we offer.
“The sessions aim to stimulate the lymph nodes to help clear excess fluid from areas of the body.
“The benefits include better movement in the body and greater flexibility.
“Things in our industry are always changing and developing.
“There are so many things I’d like to bring into the spa, as treatments become more connected to training. Watch this space”
The spa offers a wealth of treatments including massage and facials – image supplied by Third Space
key details: Third Space Recovery Spa
Third Space Recovery Spa is located at the main Canary Wharf club.
The veteran villain, panto writer and performer is enjoying a 48-hour period of calm before the onslaught of final tech run-throughs and then opening night for the latest festive show to flow from his pen at Greenwich Theatre.
Peter Pan: A New Pantomime Adventure is again written by Anthony and sees him take the venue’s stage for a 12th season as the main antagonist.
“Captain Hook and King Rat are the two best villains in panto,” he said.
“I’ll be using the same hook I wore at Greenwich when we did Peter Pan about a decade ago to play the former.
“I’ve kept it safe all these years just in case the Captain was ever set to appear again and – lo and behold – he has.
“It’s a really good one, made of metal with a leather surround, and it’s brilliant to point with and threaten people.
“It makes you feel a little bit evil, which is delicious and the fact I get to wear a really enormous hat helps too.
“The show contains the juxtaposition of the boy who never grows up and Captain Hook who’s afraid of growing old and the passing of time.
“Without getting too dark, it’s about the inevitability of death.
“Writing the show is about balancing those two things out – it’s a really interesting subject and a theme to play around with in panto.
“The story follows the search for the secret of Peter’s eternal youth.
“Hook is hell bent on finding it out.
“He and henchman Smee discover a map to a location that may well be the source of Peter’s power – so of course he’s obsessed with finding the X that marks the spot.
“Naturally, Peter, Tinker Bell, Wendy and all the rest of the Lost Boys are there to try to stop him – but will they be successful?
“Then as a writer it’s about getting the mix right.
“Hopefully it’s a really fun show and anyone who’s familiar with our pantos won’t be disappointed.
“Things, as always, get slightly bizarre in act two – we always try and take the audience somewhere completely unexpected.
“The first half is always about setting up and introducing the characters.
“When that process is complete, you can start to really have fun.”
The panto features a Jolly Roger set – image by Greenwich Theatre
heroes and villains
The main character energy is duly divided up with Samuel Bailey returning to Greenwich as Peter Pan after a successful stint as the titular Dick Whittington last year.
As usual, the creative team of James Haddrell as director and “Uncle” Steve Markwick as musical director will be working tirelessly to ensure the theatrics and songs land with audiences.
“We’re thrilled to have Sam back because he’s just such a natural panto performer,” said Anthony.
“It’s in him – he knows how to deliver the material and just how to pitch it for all the family.
“He’s got a great voice and he can dance too – he’s a fantastic all-rounder – and he’s playing youth, imagination and adventure.
“In contrast, I’m getting on in years now and I’m starting to feel that on stage, which is a good fit for Captain Hook – although like a fine wine I’m just getting better with age.”
The hero and villain both have their team of backers with Olivia Williamson taking on the role of Tinker Bell.
Anthony said: “Tink is there for the kids. Her lines are full of Gen-Z slang, which has been great fun. I didn’t understand half of it, but
“My brother’s eldest daughter has just turned 14, so she’s just the right age to help me out. It’s all gobbledegook to me, but she’s been translating when we Google the slang and I think younger kids will really get it.
“As Peter mirrors Hook, Tinker Bell mirrors a character called Starkey, who’s played by Paul Critoph who was last in Greenwich panto nearly 10 years ago in Cinderella.
“He’s a salty old sea dog who’s wise but perhaps one step behind everybody else.
“There’s great fun to be had by bringing a full spectrum of ages on stage and having a laugh with that.”
Also on Hook’s piratical crew, Louise Cielecki returns to the Greenwich stage as Anthony’s hapless sidekick.
“She’s playing Smee – there was no other role for her,” he said. “We get on so well and we enjoy performing together.
“We tune into each other quite quickly and can half-guess what each other will be doing on stage.
“It’s great fun to be mucking about and improvising with her again.
“When I was writing it, I had her in mind and she’s brilliant at it, playing the bumbling buffoon albeit with an amazing singing voice. She’s a great all-rounder too.
“At Greenwich the panto just gets bigger and bigger every year.
“For me, when I’m writing it, it’s always about entertaining the audience – I always have one eye on what I think they’ll enjoy.
“That’s true for Uncle Steve and James too.
“We really want to give people a good time over Christmas. People can forget their worries for a couple of hours and escape to the magical realm of the panto, which this year happens to be Neverland.
“We have some fantastic sets including an amazing pirate ship.
“The Jolly Roger is there in full splendour – it’s one of the largest sets we’ve ever had.
“As an actor, it’s the kind of set you can’t wait to get on board and be a bit silly on.
“We’ve been in tech rehearsals for the show with full lighting, pyrotechnics, puppetry and sound – the whole works.
“Even when we have a bit of time off, the stage crew don’t rest.
“They are still there, tinkering, fixing, mending, building and tweaking things.
“We have an incredible team and it’s great to hear Uncle Steve alongside guitarist Gordon Parrish and Chris Wyles on drums back together again – they’re sounding great.”
the message in Peter Pan
While the show promises a whole imaginary world of fun, flight and nonsense, there’s also a message in all the madness.
“Not all pantos have morals we should take to heart,” said Anthony.
“Take Dick Whittington, for example. That’s a story that’s all about solving your problems by becoming rich and famous.
“I didn’t think that was a very good thing to be teaching kids, so we changed it.
“Our hero was there to save the day by defeating King Rat who had a plan to take over the world.
“In contrast, Peter Pan is about growing older, the passage of time, age and how we deal with all of that. The messages are really strong.
“Pantos do allow me to release my inner child.
“You’re writing this zany, mad stuff and you have to resort to childhood and imagination to do that well.
“They’re for all ages – from two to 102 – and it’s family entertainment, but I don’t tend to write stuff that patronises the kids who come.
“You don’t need to talk down to them.
“There will be references the young people don’t get and probably some the older members of the audience can’t understand too – especially Tinker Bell’s slang.
“But in the end, I hope everyone leaves feeling thoroughly entertained.”
the ghost of panto yet to come…
Anthony has already begun work on next year’s show, but Wharf Life has been sworn to secrecy on the title, which won’t be revealed until December 5.
“What I can say is that I’m already noting down ideas for the scenes in it,” said Anthony.
“What I really enjoy about the writing process is taking those 100 things and then seeing how 20 of them fit together like a puzzle to make up the story.”
Until then we’ll just have to settle for his ridiculous headgear.
key details: Peter Pan
Peter Pan: A New Pantomime Adventure is set to run at Greenwich Theatre from November 28, 2025, all the way through until January 11, 2026.
Performance times vary but there are frequently two shows a day.
Tickets cost £43.50 for adults and £22.50 for children under 16.
Remember when the main driver for those developing apps was function?
Uber currently offers 11 different options for travelling between one location and another.
For a sample journey of 16 minutes across east London, these range between £7.42 and £22.38, depending on what class of vehicle I wish to take, how long I’m prepared to wait and whether I’d like a “newer car with extra legroom”.
If I wish to travel with a pet, it’s £12.95. In 2025, choice is in fashion.
At launch, the app only offered one option – a luxury vehicle, introducing the cheaper UberX later on to appeal to a bigger market.
It’s impossible to know how many options users might be expected to wade through by 2030.
Any additions to the 11 already in place may offer services of benefit to niche groups.
But will it be the passengers and drivers who ultimately pay an ever greater slice of the deal to swell the company’s revenue?
Against this backdrop, Jump offers Londoners a proposition that’s almost breathtaking in its simplicity.
Launched softly in January, the app has been growing its user base and allows anyone with a phone to tap into the existing infrastructure of 7,000 black cabs by digitally hailing them. That’s it.
There’s no surge pricing, no in-app payments, no multitude of options at various tariffs.
You enter your destination, name, phone number and email address (for a receipt) and the job is then offered to the nearest registered driver who’s available.
When they accept the job, you can watch them on their way to pick you up.
Then, when they arrive, it’s just as if you’d hailed a cab with an orange light on the street.
You hop in, pay the meter fare in the cab and get out at your destination.
Jump’s Lorenzo Bugliari, who’s keen to spread the word in Canary Wharf and beyond – image by Jon Massey / Wharf Life
quick pick-ups
“It varies depending on time and location, but drivers typically accept a job within eight seconds and arrive between a minute or 90 seconds later,” said Lorenzo Bugliari.
“It’s a quick, reliable service because the cab the job is offered to is usually just round the corner.
“It’s popular with drivers because we don’t charge them a fee – they get the same as if they’d picked up a passenger who’d hailed them on the street.”
Lorenzo, it’s fair to say, knows taxis.
Having spent more than 18 years selling black cabs to drivers for manufacturer LEVC, he left to join Taxiworld as director of its Jump app earlier this year.
“There are about 14,500 black cabs in London and more than 7,000 of those have our technology in them,” he said.
“Taxiworld is a family-owned business that makes and sells systems for black cabs that allow them to take card and contactless payments using a terminal and an iPad.
“We’re known for reliability and customer service – we also offer drivers who use our system things like free front and rear cameras to help bring down their insurance premiums.
“Our aim is simple, to get more people into the back of black cabs using their services.”
Users hail cabs from their phone and can then watch their ride arrive in real time – image by Gabriel Bush / gabrielbushphotography
Jump – a taxi app with no fees
While the majority of taxi apps on the market make their money by taking a cut of the fare paid to a driver, Jump is different.
By law, black cabs must be capable of taking card and contactless payments and Taxiworld, as an approved supplier by TfL, provides the necessary tech for free to drivers.
In return it charges a percentage of the transaction fee, capped on larger fares.
In essence, the app is just a tool designed to help more customers get into black cabs and make those transactions.
“The drivers love it,” said Lorenzo.
“Other platforms are charging them huge amounts – between 15% and 20% – on the jobs they are supplying.
“When you factor in things like surge charging when apps are busy, passengers are sometimes being charged more than you’d pay on the meter in a black cab.
“We feel that’s unfair to passengers.
“IWe don’t charge surge fees, booking fees, admin fees or green ride fees. If it’s raining or the trains are down, you won’t pay any extra.
“IWe also don’t charge cancellation fees for either the user or the driver.
“It’s about fairness to passengers and drivers and keeping black cabs on the road.
“If you’re a regular user, we believe you’re going to save money – you’re also getting the safety and reliability of a black cab, which are all wheelchair accessible.
“All new cabs since 2018 have been zero-emission capable.
“IThe drivers will have The Knowledge and they’ll always get around quicker than anyone else.
“Black cabs can also use bus lanes, which enables them to reach their destination significantly faster than other vehicles.”
There are around 6,000 black cabs in London capable of accepting fares through Jump – image by Gabriel Bush / gabrielbushphotography
bespoke business services
Jump also offers services to businesses and is targeting restaurants, hotels and bars with a range of bespoke options to fit customers’ needs.
“We believe we can save organisations up to 40% and we’ll only ever charge for a service if there’s an operational cost,” said Lorenzo.
“We like to offer bespoke solutions because we don’t feel there’s a product that fits every company’s needs.
“Some want a card on file and others prefer a monthly account. We’re open to all of it.”
Jump is working to increase its passenger base across London with a particular emphasis on Canary Wharf.
Since the pandemic footfall in the area has recovered to eclipse figures seen in 2019 with more than 70million people visiting each year and that trend is set to continue.
“My aim is to spread the word here,” said Lorenzo.
“With more people using the app in Canary Wharf, word will spread among drivers that there’s more work coming out of that area and you’ll see an increase in the number of cabs ranking up.
“I want to see as many black cab drivers in the area as possible and people using the service.
“That can be through the app or just hailing the taxi on the street.”
Passengers simply pay the fare on the meter in the cab when their journey is complete – image by Gabriel Bush / gabrielbushphotography
“I knew I was going to be a dancer from the age of three,” said Dannielle ‘Rhimes’ Lecointe.
“I was dancing on a table on my dad’s birthday and I told him.
“He’s a DJ and a producer and he was supposed to go out and play that night, but I wouldn’t stop dancing or go to bed.”
Growing up in Stratford and Maryland, Rhimes loved music, painting and creativity and “always danced” despite being extremely shy.
“I was fascinated by storytelling and the concepts involved in telling stories,” she said. “I was a teenager when I really got into dance.
“A man named Kenrick Sandy, who’s now co-artistic director of Boy Blue, came to my school when he was about 18 and did freestyle in assembly and I thought: ‘That’s what I want to do’.
“Then he came to teach classes and eventually held auditions for a community dance group for different schools in east London.
“There were loads of us and I remember the day clearly – I was scared but I really knew I wanted to do it and it would change my life.”
After successfully auditioning, Rhimes’ started performing with the group, going on to take part in Sadler’s Wells’ Breakin’ Convention festival in Islington.
Dancer, choreographer and creative Dannielle ‘Rhimes’ Lecointe – image by Amy Cook
rising through dance
“It was the biggest stage I’d ever been on – it was terrifying,” she said.
“I grew up at a time where there was no-one to aspire to be.
“We had music videos with dancers in the background, but that’s as far as the vision went.
“Being at that festival was a big learning curve, but watching the other artists – global performers coming over from different places – made me think there was more out there.
“I was one of the first from my circle of people who dared to step outside the east London barrier – who went out to participate, to see what was there.
“I wasn’t a trained dancer, I didn’t go to college to do ballet and jazz.
“We learnt in community centres, without mirrors, with crash mats – things weren’t official. I just wanted to explore the possibilities.”
Her talents won her a place at the ZooNation Training Academy, another appearance at Breakin’ Convention and then three years in the cast of hip-hop show Into The Hood in the West End.
Today, having spent much time working with Boy Blue and ZooNation she’s risen to become associate artistic director of the latter, an artist working in a range of disciplines and is the driving force and choreographer for the first ever festive show at Sadler’s Wells East.
Danielle watches performers in rehearsal – image by Helen Murray
making Ebony Scrooge
“When I initially came on to this stage of making work a number of years ago, I wasn’t really a participant in Christmas,” said Rhimes.
“I’d distanced myself from it when there were some family dynamics that weren’t great.
“But when I was asked if I wanted to do this as a Christmas show, I felt I was in a healing spot, so it aligned perfectly.
“A Christmas Carol is a story I would watch with my grandmother, so that was my choice and the show was dedicated to her and some other women who occupy that position.
“It’s a story made in Christmas time rather than a story about Christmas.
“I pulled back from Christmas when my grandmother had a stroke, because my definition of Christmas was that I would spend time with her.
“It wasn’t about presents, it was about having that family connection. She developed dementia after the stroke and now doesn’t know who I am.
“That journey was quite painful and things were never going to be the same.
“I’m really grateful for this show, because it’s helped me heal and see my grandmother and just honour that she is here, which is a very beautiful thing.”
bright and bold
The show is billed as a bright and bold adaptation of Dickens’ tale blending hip hop, comedy and physical theatre, featuring music from Michael ‘Mikey J’ Asante.
Rhimes said: “I have made an original story inspired by A Christmas Carol. There’s a big fashion element to it.
“Ebony Scrooge is an icon at the top of her game.
“She’s a black female protagonist – the opposite of Ebenezer Scrooge.
“She goes on a journey of finding identity, heritage and what is important.
“We’re in a time when things are very different, but resonate with multitudes of people, whether they celebrate Christmas or not.
“Even if you spend Christmas alone, as I have done, there’s something of self-love and acceptance.
“Audiences can expect high energy, fun, laughter, comedy – all those things – and also weight and emotion, going to deep and vulnerable places.
“It’s London and it’s vibrant, it’s colourful and it’s Christmas, but then we transition into the stark monochrome world of Ebony, and the difference between the world she has created and the world that’s on the outside, and how that affects how people show up, or don’t.
“We’re brought into the relationship between Ebony and her niece and its dysfunction.
“Her desire to put career first and shield herself with barriers and boundaries.
“There’s a disconnect there. So she goes on the journey and has three visitations.
“Instead of the cliché people know there’s a bit of rewiring of the storytelling, there are bits that are scary and bits that are absolutely hilarious.
“If you’re only going to the one show, then this is the show you want to see.
“It’s for the child who can’t stop moving – for them to be inspired and to go after what they can’t stop dreaming of.”
key details: Ebony Scrooge
Ebony Scrooge is set to run at Sadler’s Wells East from November 26, 2025, until January 4, 2026. Ticket prices start at £15 plus a £4 booking fee.
Performances take place at 7.30pm or 2.30pm matinees on selected days during the run.
The venue’s Park Kitchen & Bar will be serving a festive three-course set menu over the Christmas period priced at £35 per person.
One of the best ways to decide if a development is for you is to take a tour of a show home.
Such trips allow prospective buyers to really get a sense of the apartments they’re considering – the finishes, the location and the practicalities.
Here, we profile a pair of two-bedroom homes from The Hill Group’s Lampton Parkside and Kew Bridge Rise schemes to turn readers’ heads:
The show home looks out over Lampton Park – image supplied by The Hill Group
Forest View
Lampton Parkside, Hounslow, TW3
tell me about this apartment
This two-bedroom show home is located on the eighth floor of Forest View at Lampton Parkside.
The property includes an open-plan living, kitchen and dining area that opens out onto a private balcony.
There’s also an entrance hall with built-in storage and a utility space, a principal bedroom with fitted wardrobe and an en suite bathroom, a second bedroom and a family bathroom.
where’s it situated?
This dual-aspect home on the corner of the building has views to the north and west as it directly overlooks the wide open space of Lampton Park from its generously proportioned balcony.
Forest View is on the western edge of the wider development close to the scheme’s concierge facility. The show home is one of seven apartments on the eighth floor
what’s included?
Underfloor heating throughout, fed from a communal heating plant, Amtico flooring in the living areas and bathrooms, carpet in the bedrooms and porcelain tiles on the balcony.
Buyers can expect a full complement of integrated appliances in the kitchen plus LED feature lighting, heated towel rails in the bathrooms and smartly wired spaces allowing for easy connectivity.
The apartment features two bedrooms – image supplied by The Hill Group
the nuts and bolts
The apartment comes with a 999-year lease and a 10-year NHBC warranty.
Lampton Parkside is a collaboration between The Hill Group and housing association Notting Hill Genesis, with Forest View the final building in the scheme to be released next to the park itself.
what about communal facilities?
Forest View is built around a central elevated garden for the exclusive use of residents.
The building comes with cycle storage facilities and parking spaces are also available for purchase.
what’s the commute like for Wharfers?
Lampton Parkside is located close to Hounslow Central station on the Piccadilly line which offers connections to Green Park in 35 minutes.
From there, Canary Wharf is a 13-minute journey on the Jubilee line.
The development is well located for a wide range of amenities including Heathrow Airport.
Much of central London is accessible within 35 minutes.
The open-plan living area opens onto the property’s balcony – image supplied by The Hill Group
key details: Lampton Parkside
One, two and three-bedroom apartments are currently available at Lampton Parkside as well as three-bedroom duplexes with prices ranging from £369,500 to £650,000.
Call 020 3959 0900 or email hello@lamptonparkside.co.uk to arrange a viewing.
This apartment is located on the seventh floor of Wren House – image supplied by The Hill Group
Wren House
Kew Bridge Rise, Brentford, TW8
tell me about this apartment
This two-bedroom, two bathroom show apartment is located on the seventh floor of Wren House.
Boasting westerly views from a generous private balcony, the property also includes an entrance hall, a utility space, an open-plan living area, a principal bedroom with en suite, a second bedroom and a family bathroom.
where’s it situated?
The building is located at the heart of the estate, with the show home overlooking the scheme’s Western Courtyard.
Other features of the development include a residents’ gym, co-working areas, an on-site nursery and a concierge service.
what’s included?
Prospective buyers can expect Amtico flooring throughout the majority of the apartment and carpeted bedrooms.
Bathrooms feature heated towel rails and the whole property is warmed via underfloor heating.
Hot water and heating is provided via a communal hybrid heat pump and electric boiler system with an individual meter for the apartment.
The kitchen boasts a Caesarstone worktop and an extensive range of integrated appliances.
Outside, the balcony features aluminium decking.
The development is located just over the Thames from Kew Gardens – image supplied by The Hill Group
the nuts and bolts
The apartment comes with a 990-year lease and a 10-year NHBC warranty.
Kew Bridge Rise has been designed and built as a collaboration between housing association L&Q and The Hill Group.
The scheme is located in Brentford to the south of Gunnersbury Park and just over the river from Kew Gardens.
what’s the commute like for Wharfers?
Kew Bridge Rise is located within easy walking distance of Kew Bridge station, which offers a direct connection to Waterloo via National Rail services in 28 minutes.
From there, Canary Wharf is seven minutes away via the Jubilee line.
The development is also close to Gunnersbury station, which offers District line and Overground services.
This puts residents within rapid reach of west and central London.
The apartment includes a private balcony – image supplied by The Hill Group
key details: Kew Bridge Rise
A new show home is set to be unveiled on November 29, 2025, at Kew Bridge Rise in celebration of the launch of the final phase of Starling House.
This latest building will offer studio, one, two and three-bedroom apartments with prices from £395,000 to £820,000.
Those seeking an exclusive first look at the final homes to launch at Kew Bridge Rise should call 020 3906 1952 or email hello@kewbridgerise.co.uk for more information
