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
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.
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
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
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.
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.”
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
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
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
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
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
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.
He studied as a cellist at the New Zealand School Of Music, completing a masters in chamber music and performing with a string quartet for about a year after graduation.
But life took a different turn when other members went overseas to study.
He quit playing professionally, opting instead to study law and then pursuing a career in the field initially in Auckland and then in Abu Dhabi with Allen & Overy and with Clifford Chance in Brazil, before arriving in the UK four years ago in his current role as senior associate at Baker McKenzie.
“Coming to London enabled me to get involved in the amazing classical music scene here,” said Tom.
“What you have are all these amateur orchestras with people playing at a very high standard, even though they’re often pursuing different careers.
“When I got here it was really inspiring.
“I joined the London City Orchestra, which puts on a small number of concerts each year and offers a way for people to play music while also following their careers in banking and so on.
“I was playing more and more – getting my confidence up again – but there wasn’t much chamber music happening and that’s where the idea for Brahms Club came from.
“Chamber music is the holy grail all musicians want to play because you can hear yourself – you’re not having to blend into an orchestra.
“Johannes Brahms is the greatest composer of this type of music, he offers a glimpse of the sublime for audiences.
“It’s such a rewarding experience for musicians to play his pieces – they’re so uplifting and positive.
“I really do believe his music helps people get through tough times and lifts them up, inspiring them to greater things.
“Brahms Club is for people who want to play his works and for those who want to listen to them.”
Tom is joined by pianist Jennifer Lee and violinist Tim Yap to perform the first recital at Brahms Club – image by the Royal Foundation Of St Katharine
“I reconnected with some of my old professional musician friends,” said Tom.
“At first, I was a bit embarrassed approaching them and saying I wanted to play chamber music.
“But I told them about this project and that we were fundraising for charities and they said they really wanted to do it and it’s really come together.
“The first concert was quite magical – it was a really special atmosphere with the audience sitting round the performers at the same level.
“It had a real feeling of warmth and it was quite relaxed with people clapping at the end of each movement, which felt really nice.
“I’m performing myself in some of the concerts and for the first one – Brahms Piano Trio No 1 In B Major, I was playing with my friend Jennifer Lee who’s a professional pianist.
“It was so moving, quite emotional, because we used to play together when we were in high school in Christchurch and we’d played the piece when she was 14 and I was 15.
“We’d fallen out of touch over the years and she’s a phenomenal player so this was a great chance to reconnect – we both love the music and it was really special to perform with her alongside violinist Tim Yap, the leader of the London City Orchestra, who’s amazing.”
Donations at the concert go to three charities including the Royal Foundation Of St Katharine in Limehouse, above – image by the Royal Foundation Of St Katharine
raising money for good causes
Of the 19 concerts programmed, 17 remain, featuring a wide variety of performers, including participants from two of the charities supported.
Tom said: “Ilumina is centred around a festival on an old coffee plantation in Brazil.
“There, they bring talented students from all around the country together to study and play with musicians from overseas.
“After spending a few weeks together, they then go on an international tour with the professors, with some getting funding to continue their studies overseas.
“It’s an incredible charity and we’re hoping to feature one of the musicians who has benefited from its support in the concert series.
“In addition to Ilumina and The Royal Foundation, the other musical charity we’re supporting is IMS Prussia Cove, an amazing project, which hosts a residential course in Cornwall.
“Top musicians go there and the students play there for a week, then they come to London, and it’s really important for the next generation of musicians to get those experiences.
“Violinist Tim Crawford, who’s come up through that programme and is really in demand, is set to perform with us for Brahms’ String Sextet No 2 In G Major and Cello Sonata No.1 In E Minor on November 23, which will be a real highlight of the series.
“Another will be violinist Jennifer Stumm and friends on December 14.”
a community effort
While Tom is the driving force behind Brahms Club, he’s had support from the local community.
“Many people have helped with the project,” he said.
“My neighbour, Fatima Carvalho and her husband Richard Lapper, have been absolutely crucial in getting stuff done.
“Fatima is Brazilian and put me in touch with Ilumina and helped us sell out the first concert.
“Richard, a journalist and author, acted as master of ceremonies and will hopefully be introducing several of the pieces.
“Brahms himself grew up in the docklands of Hamburg and you can imagine him finding familiarity in this part of London.
“He was famously diffident and didn’t want to be famous, cancelling a trip to Oxford to receive an honorary degree because he found out promoters were trying to organise a concert of his music at Crystal Palace to coincide with it.
“He told a friend in a letter his only regret was that he wouldn’t get to see London’s docks.”
key details: Brahms Club
The Brahms Club concerts take place at The Royal Foundation Of St Katharine on Sundays at 2pm.
Dates for your diaries in 2025 include November 16, 23 and 30 plus December 7, 14 and 21.
Performances will then continue in 2026 from March 1 and then into April and May.
Tickets are free with donations welcome – all proceeds go to charity.
