Kew Bridge Rise

Piano Piano Studio gears up for festive concert on the Isle Of Dogs

East London music school headed by Andra Kruka offers instrumental and singing lessons as well as opportunities to gain performances experience

The music school hosts special themed concerts with the next one set for December 14, 2025 - image supplied by Piano Piano Studio
The music school hosts special themed concerts with the next one set for December 14, 2025 – image supplied by Piano Piano Studio

Subscribe to our free Wharf Whispers newsletter 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
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.”

Today, Piano Piano Studio offers tuition in piano, guitar, violin, drums, singing, music theory and music production with lessons available in students’ homes or online.

“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
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.

“Our next concert will be The Polar Express at The Space on December 14, 2025.

“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
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.

Find out more about lessons here

Piano Piano Studio takes over Crossrail Place Roof Garden for a concert - image supplied by Piano Piano Studio
Piano Piano Studio takes over Crossrail Place Roof Garden for a concert – image supplied by Piano Piano Studio

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Third Space Recovery Membership offers support for training

Packages of core treatments – Vibro-Acoustic Bed, red light therapy and cryotherapy – designed to help members recover faster and prevent injury

Third Space Recovery Spa boasts a Vibro-Acoustic Bed to aid relaxation and sleep - image supplied by Third Space
Third Space Recovery Spa boasts a Vibro-Acoustic Bed to aid relaxation and sleep – image supplied by Third Space

Subscribe to our free Wharf Whispers newsletter here

…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
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.

In response to demand from members, the largest luxury health club in Europe launched add-on Recovery Memberships for regular users and they’ve been a popular introduction.

The Canary Wharf spa boasts a medical grade red light therapy bed - image supplied by Third Space
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
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
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.

Recovery Membership and Recovery Membership Plus cost £115 and £195 per month respectively and are available to Third Space members of any club, not just Canary Wharf.

All treatments are also available to non-members.

Cryo starts at £25 for a taster session, red light at £50 for 20 minutes and Vibro-Acoustic Bed programmes are from £40. 

Find out more about the treatments here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Peter Pan flies into Greenwich Theatre as panto season returns

Anthony Spargo takes on writing and villainous duties once again as the venue’s storied team take on Captain Hook vs the boy who never grew up

Veteran villain Anthony Spargo returns as Captain Hook, having penned his version of Peter Pan - image by Jon Massey / Wharf Life
Veteran villain Anthony Spargo returns as Captain Hook, having penned his version of Peter Pan – image by Jon Massey / Wharf Life

Subscribe to our free Wharf Whispers newsletter here

Anthony Spargo is relishing a weekend off.

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.

This year’s show – which kicks off on November 28, 2025, with two performances most days until January 11, 2026 – is in some senses all about the passage of time and how we adapt as we age.

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
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.

Find out more about the show here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Jump taxi app allows users to hail black cabs direct from their phone

Taxiworld’s tech solution is designed to make it easier for people across London to access rides without fees that penalise passengers and drivers


Jump offers users a simple way to hail a black cab digitally from their phone - image by 
 Gabriel Bush / gabrielbushphotography
Jump offers users a simple way to hail a black cab digitally from their phone – image by
 Gabriel Bush / gabrielbushphotography

Subscribe to our free Wharf Whispers newsletter here

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
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
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
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
Passengers simply pay the fare on the meter in the cab when their journey is complete – image by
 Gabriel Bush / gabrielbushphotography

key details: Jump

Jump is free to download and is available on both iOS and Android phones.

The app itself is free to use with no payment information taken. 

Find out more about the app here.

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Ebony Scrooge opens as first festive show at Sadler’s Wells East

Dancer, choreographer and creative Dannielle ‘Rhimes’ Lecointe offers a fresh take on Charles Dickens’ A Christmas Carol at the East Bank venue

The cast and creative team behind Ebony Scrooge seen here in rehearsals - image by Helen Murray
The cast and creative team behind Ebony Scrooge seen here in rehearsals – image by Helen Murray

Subscribe to our free Wharf Whispers newsletter here

“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
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.

Ebony Scrooge is a production with a story inspired by Charles Dickens’ A Christmas Carol, with performances running from November 26, 2025, until January 4, 2026.

Danielle watches performers in rehearsal - image by Helen Murray
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.

Find out more about the show here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Brentford and Hounslow two-bed homes showcased back to back

We take a look at a pair of apartments from The Hill Group’s Lampton Parkside and Kew Bridge Rise developments, both well connected in west London


The sleek grey kitchen at the Lampton Parkside show home - image supplied by The Hill Group
The sleek grey kitchen at the Lampton Parkside show home – image supplied by The Hill Group

Subscribe to our free Wharf Whispers newsletter here


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
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 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
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.

Find out more about the homes here

This apartment is located on the seventh floor of Wren House - image supplied by The Hill Group
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 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
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

Find out more information about the development here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

How AviadoBio researches gene therapies in Canary Wharf

Senior research associate Deborah Ojutalayo, one of the faces of Canary Wharf Group’s Where Ambition Lives campaign, on her scientific passions

Deborah works in labs at 20 Water Street, researching gene therapies - image by Jon Massey / Wharf Life
Deborah works in labs at 20 Water Street, researching gene therapies – image by Jon Massey / Wharf Life

Subscribe to our free Wharf Whispers newsletter here

One of the key features of Canary Wharf Group’s Where Ambition Lives campaign is its focus on dispelling popular, enduring misconceptions about the estate.  

Diving deeper into that message, Wharf Life has interviewed some of the Wharfers featured, including Deborah Ojutalayo.

“When I tell people I work in Canary Wharf as a scientist, they can’t envisage what I do,” she said.

“They wouldn’t necessarily see my work and Canary Wharf in the same sentence.”

The senior research associate at AviadoBio spends her days in the rapidly growing company’s labs a few storeys above the increasingly bustling thoroughfare of Water Street on Wood Wharf.

Deborah in her lab at AviadoBio in Canary Wharf - image supplied by Canary Wharf Group
Deborah in her lab at AviadoBio in Canary Wharf – image supplied by Canary Wharf Group

confounding the stereotype

“People think of the area as a hub for financial services businesses – but it is actually a really nice blend of people working in lots of different industries,” said Deborah, who joined the life sciences startup in 2021 before it moved to the Wharf a little over a year ago.

“When I got the job, we were based in Hatton Garden, which was weird because people always associate that with jewellery.

“We were in a really tiny lab with eight employees.

Now we have around 60 – we’ve expanded quite quickly and moved to Whitechapel before coming to Canary Wharf.

“We are a gene therapy company. Certain diseases are caused by faulty genes or other mutations in your body.

“What we’re doing is developing a virus that will deliver a healthy gene to the patient with a focus on tackling dementia and motor neurone disease.

“My role is to carry out the pre-clinical testing before it is ready for trials in animals and patients.

“The viruses we work with don’t themselves cause harmful illnesses – we modify them so they are safe to use.

“I perform my tests using different types of cells – from humans, monkeys, pigs and mice – to make sure the virus is working as expected.

“I check we’re seeing the results we want, a reduction in faulty genes or an increase in the function of healthy genes. 

“Only once we’ve made sure its safe, a process that can take many months or even years, does a therapy move on to animal studies and then human clinical testing.

“It’s essential we avoid any off-target effects – for example, we don’t want to affect the heart if we’re targeting the brain.”

a career in science

Growing up in Forest Gate in Newham, Deborah decided to pursue a career as a scientist after her mother ruled out working for the police.

She graduated with a first in Biomedical Science from the University Of Westminster before completing a masters at the same institution in Immunology.

She said: “I just love science. During my first degree I found out I had a passion for research, conducting various projects including one looking into parasitic disease.

“It was then I thought this could be a career path for me. In my field, there are typically two paths – academia or industry.

“I wanted to work in the latter because I wanted my work to have an impact on patients and to see the fruits of that.

“You have to be patient, but it’s rewarding to work on projects that you see through to the end.

“Sometimes we get patients coming in with diseases or conditions that there’s currently no cure for.

vWe get to understand how their suffering affects them and their families.

“That’s what gives me motivation – there’s the trust those patients put in us to hopefully find something that will cure them and gene therapy has a lot of potential.

“We’ve already seen successes in areas such as Sickle Cell Disease with a treatment now approved by the NHS for severe cases.”

highlighting career pathways

Deborah is also driven by something else – a desire to highlight and promote careers in science, especially to those who might not have considered it before.

“I’m very passionate about speaking to young people, so a lot of what I do is going into schools and speaking to students who have an interest in STEM or science about my journey,” she said.

“My career pathway from school was not that clear, and people are not necessarily aware of the different opportunities that are open to them.

“I can see that people are interested in it, so I try to convey science in a very simple way that people can understand.

“I really want to inspire the next generation.

“I like to think of myself as still young and having someone other than a teacher speaking to students in school on a casual, one-to-one level really works. They love it.

“That communication is important because when science is spoken about, a lot of the time it’s when there’s been a breakthrough, but people don’t necessarily understand the process.

“Science is not just that big, final reveal, it’s incremental progress.

“One of the reasons I share my work on social media is so that people can understand what my day as a senior research associate looks like. Science is cool. 

“When you think of a scientist, you might think of old, boring people, which is just not the case.

“In the lab I’m surrounded by brilliant, intelligent people but nobody is prideful, thinking they’re the smartest.

“There is a constant flow of information and everyone has their own area of expertise, so it’s mentally stimulating. 

“Of course we have the radio on – it’s a fun atmosphere too.

“Sometimes if an experiment is taking a long time I’ll use the length of certain songs to measure it.

“I like anything upbeat, like Afrobeat to keep me going. Especially if it’s a really long experiment.

“I’m half Ugandan and half Nigerian.

“I went to Uganda recently to see how their healthcare system and diagnostic facilities work. They’re not great.

“I don’t know how I’ll get there, but one day I’d love to be able to create something that addresses that and benefits people there.”  

You can find out more about Deborah’s work on the Wharf via @debsdiary6 on Instagram and TikTok. 

key details: AviadoBio

AviadoBio is based at 20 Water Street in Canary Wharf and is currently working on medicines to help people with frontotemporal dementia and amyotrophic lateral sclerosis.

You can find out more about the company on its website.

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

River Of Hope artworks to be displayed at Cody Dock’s Frost Fair

Winter event will also feature live music, a local makers’ market, games, workshops, food and drinks

Children survey the River Lea on a visit to Cody Dock as part of the River Of Hope project - image supplied by Thames Festival Trust
Children survey the River Lea on a visit to Cody Dock as part of the River Of Hope project – image supplied by Thames Festival Trust

Subscribe to our free Wharf Whispers newsletter here

Cody Dock is set to host its latest Frost Fair at the end of the month with a packed programme of activities and attractions.

The event, which is free to attend, will feature a local makers’ market, live music and games.

There will also be workshops for visitors to participate in including wreath making and sustainable wrapping paper printing.

Food will be provided by German Deli and Milagros with drinks – including mulled wine – from the Cody Dock bar.

Also on show during the day will be a series of artworks from River Of Hope, a project that saw school pupils work with artists at Cody Dock to creatively respond to the Lea and the environment around it.

As part of the Thames Festival Trust’s Totally Thames festival, the resulting pieces by five Newham secondary schools and nine primary schools were first displayed in September at Cody Dock, beside the Millennium Bridge and at Compressor House in Royal Docks.

Some of those by secondary schools shown at the latter will also feature at Frost Fair, while others have made the journey to COP30 in Brazil.

Two of the artworks created as part of River Of Hope – images supplied by Thames Festival Trust

two years in the making

Kate Forde, Thames Festival Trust head of education and engagement, said: “River Of Hope has been a two-year programme that’s worked in five regions around the UK as well as in France and Ethiopia.

“The aim, through partnerships, is to connect people with their local environment, specifically with their rivers and waterfronts, as well as elevate the work of young people. 

“Their pieces are showcased in different ways at international festivals all around the country.

“In Norfolk, for example, we installed artwork on the sails of boats and had a procession of vessels come down the river.

“In London, our environmental partner is Cody Dock and they’ve been perfect for the project.

“With the primary schools, they all visit the site and a lot of professional development for the teachers is involved with the aim of inspiring a more creative approach to teaching and learning.

“Through the geography curriculum they deliver a term’s worth of work around River Of Hope with the final output being the artwork – in this case a series of flags that are already on display at Cody Dock.

“At both secondary and primary level we can see the long-term impact of the project is making them relevant.

“Since Covid, schools are much more reluctant to do outdoor visits, but learning in this way is so beneficial. 

“Feedback from the teachers has been that these experiences at all ages were such a leveller – seeing kids who may have been disruptive in the classroom really coming into their own.

“It really does highlight the importance of a variety of approaches to learning.

“The project is very much also about leaving a legacy there, whether it’s the artwork being displayed or the schools knowing about and being able to access resources such as the ones at Cody Dock on their doorsteps.

“In addition to the flags by the primary schools – made using marbling techniques with artist Fiona Grady – the works that will be shown at Frost Fair have been created by Newham secondary schools in collaboration with artist Shona Watt and poet Dauda Ladejobi.

“These have been reproduced on silk as three metre-high hangings and they’re really extraordinary.

“It’s the students’ take on what they learnt and their feelings about climate change globally, what’s happening in the world and their hopes for the future.”

For those unable to get down to Cody Dock, the works can also be viewed online here.


Pupils participate in a workshop at Cody Dock - image supplied by Thames Festival Trust
Pupils participate in a workshop at Cody Dock – image supplied by Thames Festival Trust

key details: Frost Fair at Cody Dock

Cody Dock is located on the edge of Canning Town right beside the River Lea.

The closest public transport is Star Lane DLR station.

Its Frost Fair event is set to take place on Saturday, November 29, 2025, from noon-5pm and is free to attend.

Find out more about the event here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

Mama Goose at Stratford East promises to be a panto party

Co-written and directed by Vikki Stone and Tonderai Munyevu, the production honours tradition and features local links as a glorious mash-up

Mama Goose creators Vikki Stone and Tonderai Munyevu - image by Talitha Thomas-Kelly
Mama Goose creators Vikki Stone and Tonderai Munyevu – image by Talitha Thomas-Kelly

Subscribe to our free Wharf Whispers newsletter here

“It’s incredible – fun, exciting and the design is exquisite, based on African designs and prints,” said Tonderai Munyevu.

“Being in the East End is a powerful influence too – it’s a glorious mash-up of so many things and it reflects the local community.” 

We’re sat in a rehearsal room at the end of a labyrinth of cream-painted corridors, safely away from the public’s gaze at Stratford East.

Here, the venue’s latest panto is being forged. Costume designs are stuck up on the walls, keyboards are plugged-in and plastic chairs stand in for scenery.

While the cast pop out for break, there’s no rest for Tonderai and Vikki Stone – co-writers and co-directors of Mama Goose, which is set to open on November 21, 2025.

Instead they must pose for photos and talk up the forthcoming production.

Fortunately, it’s a topic they both clearly relish.

Vikki has extensive experience working in panto - image by Talitha Thomas-Kelly
Vikki has extensive experience working in panto – image by Talitha Thomas-Kelly

honouring tradition in Mama Goose

“I love panto and I love working with Tonderai,” said Vikki, a multi-faceted artist known for her work as a musician, composer, comedian and actress amongst many other endeavours.

“Over the years I worked out that I’ve been in more than 500 performances.

“I know about audience behaviour, so I understand what it takes as a comedian to make people laugh.

“You don’t have to have been on stage in panto to write one, but I think it gives me a lot of relevant experience.

“Working together, we hope we’re creating something that moves the form along, making it relevant and fresh while still respecting the traditions.

“One of the things I am precious about is the classic set pieces and we don’t mess with them – they’re perfect.

“I like to think that someone who is 85 or 90 could come and see Mama Goose and recognise the rhythm and the jokes they enjoyed as children.

“There are bits you can mess with – and we’ve played around a lot with the story – and bits you can just leave as traditions so they are the same year-on-year.

“I think knowing what those are is part of the job.”

Vikki and Tonderai say their skillsets support one another's work - image by Talitha Thomas-Kelly
Vikki and Tonderai say their skillsets support one another’s work – image by Talitha Thomas-Kelly

fascinated by the form

While Vikki has a wealth of panto experience behind her (oh yes she has), Tonderai is more of a newcomer to the form – although he has already cut his teeth.

The pair first met in a writer’s room during the pandemic and, when Vikki was asked to write Cinderella for the Lyric Hammersmith in 2023, she put her friend forward to direct, even though she hadn’t mentioned it to him.

“My family were not theatrical, they were more academic but I did go to the theatre when we came to England,” said Tonderai, who grew up in Zimbabwe before moving to the UK with his mother aged 13 and has since pursued a career as a playwright and actor.

“My first experience of panto was taking by sister’s son to see one in Stratford because we felt we should take him.

“I also went to see the production of Aladdin  in 2021 that Vikki wrote.

“I sat there, watched it, and I was a bit astonished – it was completely bonkers and based around the press briefings Boris Johnson was giving at the time. It was really funny.

“I’d done classic theatre as a writer and an actor, Shakespeare, two-handers, and so on, but we didn’t treat audiences the way panto does.

“I was fascinated by it, but never thought I’d be directing – so when it came to doing Cinderella I was terrified but also excited.”

Tonderai says he is having the time of his life making panto - image by Talitha Thomas-Kelly
Tonderai says he is having the time of his life making panto – image by Talitha Thomas-Kelly

a party, a riot

That thrill persisted and 2025 finds the pair working together again, having pitched their idea to Stratford East. 

“We are having a really great time making Mama Goose – it has to be a fun environment because you can’t fake joy,” said Vikki.

“With panto, we want it to feel like a party, a huge riot where people come in, forget what’s going on in the outside world and have a good time.

Mother Goose isn’t one of the big four – Aladdin, Cinderella, Jack And The Beanstalk or Dick Whittington.

“It’s known as the ‘dame show’ because all of the others are led by a young hero or heroine who is pursuing love.

“Instead, our show has the dame as the protagonist and it’s not performed as often, partly because there’s no original text – just a set of poems that aren’t very relevant.

“As a panto, it was first performed around 1910 and traditionally it has a moral centre about making good and bad choices – that voice on your shoulder telling you to do good or evil.

“What’s good for us as writers is that there’s no story we have to stick to.

“This gives us enormous licence to simply make things up.”

a story with a message

Collaboration is at the heart of their endeavour with both making varied contributions from their skillsets and experiences.

Tonderai said: “I’m having the time of my life.

“I write plays about people like Mugabe – strong stuff – but with this, I feel liberated and thrilled to learn, watching Vikki navigate the millions of decisions that have to be made to create a show.

“I couldn’t ask for a better education.

“Vikki suggested we do this show and, as we were talking Mother Goose became Mama Goose in deference to African culture.

“Coming from Zimbabwe, that was important to me. 

“We wanted to say things that, if either of us had been writing alone, we couldn’t say, whether that’s about the black community or the East End geezers.

“We’ve created something multi-cultural and really funny.

“It’s a love story – Mama is a wonderful woman who, naturally, loves her geese.

“She loses them and gets a replacement, which gives her all sorts of things she has never dreamt of.

“Instead of getting her old geese back, she goes on a journey where she forgets who she is, but at the end she is reminded of who she was and what it means to be part of a community.”

local links in Mama Goose

As is tradition, Stratford itself plays a significant part in the production, with plenty of references for local audiences to enjoy.

“The shops of Westfield Stratford City feature as well as the trains and the older parts of the area, without giving too much away,” said Vikki.

“Mama’s house is in one of the older Victorian streets near Maryland, for example.

“It’s a huge responsibility because, for some, this could be the only theatrical experience people have over the course of the whole year.

“We need to ensure they have a great time and that it’s a beautiful experience to come to the pantomime.

“It’s also important for the livelihood of the venue so that’s another responsibility.”

Tonderai added: “It’s part of our job to think about the money as well as the audience and that’s a good thing. 

“We want as many people as possible to come and enjoy this and so at the point of creation we’re asking these questions.

“Will people from all backgrounds enjoy this? 

“I did a serious play in the summer, where I played former Kenya president Jomo Kenyatta, and it was amazing to me that all actors had the idea that all they had to do was think about their character.

“It’s bigger than that when you’re telling a story.

“It’s not just your character, it’s your costume, how you interact with the venue, the building, the promotion – it’s all part of the storytelling.

“We are proud to be business-minded, because what’s the point of doing something exquisite that nobody sees?

“The message of Mama Goose is all about coming together and that love is all you need. One of the themes is chosen family – those people you stick with and make the best of things.

“I always worry about kids – there are things happening in the world that are quite scary and there are lots of negative messages.

“That’s why we want them to have a moment of joy when they come to see the show – a moment of feeling togetherness.

“My family, including my nephew, are due to come and see the production, which will be incredible – there will be nothing like that feeling.”

Mama Goose is set to run at Stratford East until January 3.

The panto’s cast includes Duane Gooden in the title role, Charlie Cameron as AI Jill, Mya Fox-Scott as BFF (The Bougie Fierce Fairy), Grace Venus as the Tax Man, Ellie Seaton as WTF (The Wholesome Thoughtful Fairy), Jerome Lincoln as Kay Perry, Marcellus Whyte as Jack Goose and Che Walker as Gary The Goose.

The show also features music by Robert Hyman who also co-wrote lyrics to the songs in the production with Vikki.

key details: Mama Goose at Stratford East

Mama Goose is set to run at Stratford East from November 21, 2025, until January 3, 2026.

Performance times vary. Tickets start at £10, but are selling fast, so book early.

Find out more about the production here

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life

How the River Lea plays an outsize role in UK’s social history

Area’s population has had a hand in philanthropy, the foundation of unions, workers and women’s rights and female suffrage

Today the Bryant And May Match Factory has been converted into residential apartments, but it was once the scene of a history-making strike - image by Jon Massey / Wharf Life
Today the Bryant And May Match Factory has been converted into residential apartments, but it was once the scene of a history-making strike – image by Jon Massey / Wharf Life

Subscribe to our free Wharf Whispers newsletter here

The world can seem an increasingly bleak place.

The relentless digital news machines deliver a steady diet of shock and awe at callous acts of brutality by humans the world over. 

One antidote to this pipeline of 24-hour misery is to take a step back from the present to look back and realise how far we’ve come in some areas. 

Roughly six and a half generations ago (191 years, to be exact), it was legal in Britain for one person to own another. It took a further 31 years for the USA to  abolish slavery.

 The freedoms and rights we enjoy today all have their roots in the toil and struggle of people who led lives unimaginably impoverished compared with our own and – in the grand scheme of things – not all that long ago. 

This is precisely why we need to study history and develop places that showcase and highlight the collective achievements and missteps of our species.  

An artist's impression of how Cody Dock's Heritage Pavilion will look when installed - image by Cody Dock
An artist’s impression of how Cody Dock’s Heritage Pavilion will look when installed – image by Cody Dock

a Heritage Pavilion on the River Lea

That is one of the missions that Cody Dock, an ecological regeneration project on the edge of Canning Town, is undertaking through its Heritage Pavilion project.

The structure will be built as part of a £1.6million National Lottery Heritage Fund grant, using the restored hull of Welsh lifeboat the Frederick Kitchen – likely the last vessel built at the Thames Ironworks – as its roof. 

The glazed space will host quarterly exhibitions on the history of the area, with a special focus on the River Lea.

As anticipation builds for the pavilion’s launch, this is the second in a series of articles in a partnership between Wharf Life and Cody Dock to draw attention to some of the topics that will be featured.

The banks and marshlands around rivers are well known for their fertility. 

The nutrient-heavy silts washed up by the constant flow of water, make for rich soils and abundant growth.

Factor in their historic use as corridors of trade, transport and migration and it’s little wonder that city waterways conveyed similar prosperity on the operations along their banks. 

The Lea once bristled with industries that demanded sprawling communities of workers.

This human tide, forced to contend with extraordinary deprivation and shocking conditions, was in itself a potent force and one of the reasons east London has played an outsize role in the nation’s social history. 

Here, people stood up, fought for better lives and succeeded. The four stories below aim to offer a flavour of just some of their remarkable achievements.

Harper Twelvetrees based his Imperial Chemical Works alongside the Lea - image by Jon Massey / Wharf Life
Harper Twelvetrees based his Imperial Chemical Works alongside the Lea – image by Jon Massey / Wharf Life

echoes of the past along the River Lea

Close to West Ham station, Berkeley Group is currently building a housing development called TwelveTrees Park.

That branding isn’t a reference to some long forgotten copse with a dozen pines, but a name from history.

The scheme is located on land near Twelvetrees Crescent, a road named for entrepreneur, factory owner, chemist, writer, campaigner and inspiring philanthropist, Harper Twelvetrees.

In his time, much of east London was a patchwork of industrial operations and slums, the latter housing the workers for the former.

The author Charles Dickens visited nearby Canning Town and wrote in 1857: “The houses are built in rows; but there being no roads, the ways are so unformed that the parish will not take charge of them.

“We come to a row of houses built with their backs to a stagnant ditch.

“We turn aside to see the ditch and find that it is a cesspool, so charged with corruption, that not a trace of vegetable matter grows upon its surface, bubbling and seething with the constant rise of the foul products of decomposition, that the pool pours into the air. 

“The filth of each house passes through a short pipe straight into this ditch and stays there.”

Later on the same visit, he finds “three ghostly little children lying on the ground, hung with their faces over another pestilential ditch, breathing the poison of the bubbles as it rose and fishing about with their hands in the filth for something, perhaps for something nice to eat”.

Dickens’ bitterly ironic depiction of the dirty, blighted lives of the workers and their families around Bidder Street near the Lea is a stark picture of the kinds of conditions people endured a little over a century and a half ago in the name of industrial progress.

While plenty of business owners were content to exploit their employees, others had more progressive, compassionate ideas.

Born in Bedfordshire and originally apprenticed as a printer and a bookseller, Harper Twelvetrees developed an interest in chemistry.

Moving to London in 1848 he initially sold laundry products from other manufacturers in Holborn while working on a plan to make his own.

Having set up a small factory in Islington, in 1858 he moved production to a larger site on the banks of the River Lea at Bromley-By-Bow, just over the water from Three Mills. 

Moving to the heart of the complex himself, he set about improving the lives of his workers – 400 at the peek of his Imperial Chemical Works’ success. 

He built rows of cottages to house them, invested in a library, opened a lecture theatre, put on evening classes, organised sewing circles, created a clothing club and hosted non-denominational services.

There was even support for sick workers through a benevolent fund.

In 1861, the Stratford Times wrote: “Instead of dirty, narrow lanes bounded by high walls, now there are to be seen neat, commodious and well-built cottages, flanking tidy roads. 

“The old population is losing its distinctive traits before a new, fresh and vigorous class that is rapidly settling amongst them and giving an air of busy life and incessant occupation to a place, which once wore an empty gloom hardly redeemed by the wild rush of waters roaring in the adjacent mill-stream.” 

Philanthropy can be fragile, however.

Twelvetrees’ deal to sell his business in 1865 went bad, resulting in bankruptcy, although he did start up again on the other side of Bow at Cordova Works off Grove Road, eventually going on to produce washing machines and mangles. 

A blue plaque marking the location in Bromley-By-Bow of the Match Girls' Strike - image by Jon Massey / Wharf Life
A blue plaque marking the location in Bromley-By-Bow of the Match Girls’ Strike – image by Jon Massey / Wharf Life

lighting a fire

Collective effort is where lasting gains are often made.

While some workers in east London were relatively well treated by those making money off their sweat, others were not.

In July 1888, the women and teenage girls working at the Bryant & May match factory in Bow went out on strike.

There had been previous periods of industrial action over pay and punitive fines – sanctioning the often barefoot workers for dirty feet, untidy workbenches, lateness and dropped matches – but they had all failed.

1888, however, was different. 

Atrocious working conditions including 14-hour days and the horrific ravages of phossy jaw – an industrial disease caused by exposure to the white phosphorus used in match production which killed a fifth of sufferers – were taking a terrible toll. 

Social activists Annie Besant and Herbert Burrows became involved in the cause, publishing an article that angered managers at the factory, who attempted to get their workers to sign a statement repudiating its claims. 

When they refused, a worker was fired – it was the spark that ignited the strike, with 1,400 women and girls walking out – probably on July 2.

Four days later, the whole factory had ceased to function.

The women had gone to visit Besant to enlist her help and with her support and the backing of some MPs, the strike generated significant publicity. 

Besant – a prominent campaigner of a wide range of social and political issues – assisted in the negotiations and the workers were successful in getting unfair fines and deductions for materials abolished as well as a new grievance procedure with direct access to management. 

A separate room for meals was also provided to prevent contamination of their food with poisonous phosphorus.

In the aftermath of the strike, the workers founded the Union Of Women Matchmakers – the largest such organisation of women and girls in the country at the time.

Their efforts inspired a wave of organising among industrial workers, the mothers of change.

fighting for workers’ rights

Canning Town Library played a significant role in that process.

In 1889 it was the venue for the formation of the National Union of Gas Workers and General Labourers.

Will Thorne, Ben Tillett and William Byford founded the organisation in response to lay-offs at Beckton Gasworks, with the former elected as its general secretary.

The organisation rapidly launched a successful campaign for an eight-hour working day, with its membership then rising to more than 20,000.

It was the start of a labour movement that eventually became the GMB union, which today has more than half a million members.

Also in 1889, the London Dock Strike saw a walkout by some 100,000 workers.

They won their pay claim for the introduction of the Dockers’ Tanner – a guaranteed rate of sixpence an hour – precipitating extensive unionisation across the sector.

It was against this backdrop that Labour Party founder Keir Hardie was invited to successfully stand for election as MP for West Ham South.

He represented the seat from 1892-1895.

A mural on the side of the Lord Morpeth pub celebrating the work of Sylvia Pankhurst and the East London Federation Of Suffragettes - image by Jon Massey / Wharf Life
A mural on the side of the Lord Morpeth pub celebrating the work of Sylvia Pankhurst and the East London Federation Of Suffragettes – image by Jon Massey / Wharf Life

women and equality

East London continued to play a crucial role in the development of workers and women’s rights. 

From 1914 until 1924, 400 Old Ford Road in Bow was the headquarters of the East London Federation Of Suffragettes (ELFS), an organisation committed to getting women the vote and one based not far from where the match girls stuck their blow.

It was also the home of Sylvia Pankhurst and her fellow campaigner Norah Smyth as well as the location of their Women’s Hall – a radical social centre run largely by and for local working class women.

This included a larger space with a capacity of up to 350 and a smaller hall for about 50 – all furnished with tables and benches made with wood from supporter George Lansbury’s timber yard.

When the First World War led to unemployment and rising food prices, the hall opened a restaurant serving hot meals at cost-price with free milk for children.

Having broken with her mother – Emmeline Pankhurst’s Women’s Social And Political Union – Sylvia and the ELFS used east London as a base.

The group held marches through the neighbourhood, organised large public meetings, benefit concerts and parties as well as producing a weekly newspaper called The Women’s Dreadnought.

Other activities included opening a cooperative toy factory that paid a living wage to its female workers and even offered a crèche.

While the ELFS’s name changed over the years it remained active until 1924.

Today, the Suffragettes’ activities are remembered in a mural on the side of the neighbouring Lord Morpeth pub.

It’s stories like these that Cody Dock’s Heritage Pavilion will help showcase in greater depth when it opens next year.     

Additional research by Cody Dock’s Julia Briscoe

key details: Frost Fair at Cody Dock

Cody Dock offers a wide range of volunteering opportunities and runs regular events and activities aimed at engaging with the local community.

You can find out more at its Frost Fair event on Saturday, November 29, 2025, which is free to attend from noon-5pm.

Read more: Why a degree in hospitality and tourism can boost your career

Read Wharf Life’s e-edition here

Subscribe to our free Wharf Whispers newsletter here

Subscribe To Wharf Life