Docklands Archives - Page 30 of 37

May 25, 2022May 25, 2022

Greenwich: How the all-female cast of Notflix create musicals from scratch

One of the stars of the improvised show explains the joy of making it all up as you go along

Notflix create the show based on suggestions from the audience

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Power will be in the hands of the audience when they arrive at Notflix: The Improvised Musical at Greenwich Theatre.

Spectators will vie to have their favourite film chosen as the inspiration for the show on June 11, 2022, at the venue and then watch as the cast members leap into action.

But once the performance gets rolling, the power will shift as the all-female improv group creates scenes, songs and vocals with a new narrative, all from their imaginations.

We sat down with one of the stars, Emma Read, to find out more.

how did the group start?
Our amazing director, Sarah Spencer, had this inkling she could make something really great and different.

She put together a mixed gender improv group called Waiting For The Call, and was exploring ideas.

Then she came up with the idea of creating a musical improv show based on a movie suggestion.

when did you join?
At the end of 2017 and, by then, it was already all female. That’s actually the thing that really drew me to the group. We cannot have enough all female things.

In improv and comedy, which is such a male-dominated place, it’s important that women feel they can be funny and masculine and feminine, or a penguin or whatever and that they’re not being predetermined by their gender. In our show, we don’t have any limits.

how did you learn to do improv?
I was training for about three months. I had done it at drama school but never stepped on stage with improv being the premise of a show – that was really scary.

I had to learn how to create music from improv and learn about song structure, rhyming, and rapping. It took a lot of time to get right.

But that’s the thing that makes the audience feel like it’s magic and that it’s coming alive.

It’s a very difficult skill to learn – how to relax on stage when you’re just making up stuff. You have to unlock a weird part of your brain.

was there a moment it clicked?
My first show was in 2018. I think we did X-Men but I sort of blanked it out because I was so nervous.

Then we did Silence Of The Lambs in Yorkshire and I decided to play a completely made up character who was the weird sidekick of the baddie.

I just found a physicality that I thought was funny and remember hearing the audience react to that.

If I don’t over think it and try and be funny or formulate a joke, but just come forward with something that feels honest and natural, that’s when the audience really connects with you.

In that moment I thought: ‘Oh, this is what it is. This is true improv’.

The cast make up the musical from scratch

how do you know when to sing?
There’s a lot of eyeballing each other. We don’t start a song unless there’s an impetus. It usually starts with just one person and then, because we’re so versed in song structure, we’ll get the idea of what someone is going for.

Or, if we don’t, we might have a moment to negotiate, which is fun too because a lot of songs have a sort of slow-paced start and then they rev up.

what do you love about it?
I think it keeps me on my toes as an actor – there’s nothing scarier than the show I’m in. Auditions can now be a time of play because if they give me a script I’m like, perfect.

As an actor, there’s so much fear going into a room of people that could give you a job. If you can get rid of that desperation, that’s a step towards getting the role.

Improv is magical. When you see the greats perform, it feels incredible, so organic, alive and present. It’s also scary because you’re watching, knowing that they’re making it up.

So there’s a sort of fun and very intense energy between the cast and the audience, which is so different from a normal West End show.

If you walk into The Book Of Mormon, you know they’ve rehearsed it for months and there’s not going to be a hair out of place.

In improv you could slip up at any time and that scary energy is something I’ve really come to love.

what’s your favourite type of role?
Recently, I’ve loved playing the young ingenue sort of Spiderman vibe.

There’s a lot of heart to them – I love playing the Smee characters – grizzled, second in command but so pathetic with a kind of grotesque physicality.

have you had any disasters?
There are no mistakes in improv. If you’re a good improviser, you make that disaster into a joke, you make it the whole reason the show exists and it becomes the best thing in the show.

People have come to see it because they know that there’ll be mistakes, and it’s what you do with that mistakes that’s key. I have frozen up, but you just make your character have a stutter or be lost for words because they’re so in love or they’re been poisoned.

why are women good at improv?
Because we’re amazing. I think to be a good improviser is to be a good actor and women have an incredible ability to connect and empathise.

We are able to empathize with villains, which makes them more interesting, and create stories based on our own trauma which fleshes out a character.

As a cast, we’re incredibly supportive. We now have two members with little babies and there are not a lot of shows that might be able to support them the way we are.

Because we’re all women, we just decided we would make it work. This is our life.

We all have other jobs and projects – we fit this around that and some people will want to get married and have kids and we’ll make it part of our experience. We want everyone to succeed.

We’re there for each other on stage as well. In improv, if you’re in a bad place, it’s really tough.

We have the ability to recognize when someone is not feeling good, and take them out of it, and use it as part of the show.

As a cast, we will huddle around, take that energy, adrenaline or sadness and use it to create something beautiful.

what musical would your life be?
A woman dog-walking nine-to-five, making up musicals and watching lots of films in her spare time and listening to old R’n’B.

Notflix comes to Greenwich Theatre on June 11, 2022

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

May 13, 2022May 15, 2022

Woolwich: How Tideline Art’s Nicola White digs up treasure from the Thames mud

How one former banking PA turned artist rediscovered her childhood love of found things

Artist Nicola White on the Thames foreshore – image James Perrin

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BY LAURA ENFIELD

The tide is high when I speak to Nicola White.

It’s a matter of small consequence to most Londoners, but to the 53-year-old mudlarker, it’s from the rise and fall of the waters that life emerges.

The Woolwich resident remembers two very distinct desires from her childhood in Cornwall – to never, ever work as a boring secretary and to have her own shed where all her treasures could be displayed.

As a young girl, she avidly combed the beaches and land, collecting shells, driftwood, bits of rope, mushrooms, toadstools, seedpods and eggshells.

“It’s something I have always enjoyed doing – using things I’ve found in artworks,” said Nicola.

“Life happens and, when I became a teenager, I lost interest and went and lived in France and then had my first child pretty young at 22 – everything was on hold, because I had to work.

“I did a bilingual secretarial course because I speak fluent French and then worked as a PA for banks in Paris and London.”

Nicola uses her finds to make art – image James Perrin

For 25 years, Nicola found herself doing a job she had vowed to avoid. While it brought her a comfortable life, money to buy a flat, security for her son and later her daughter, she never loved it.

“I was at the mercy of my choices for quite a while,” she said. “I was very good at my job, but I had this feeling it wasn’t what life was all about.

“I had this burning desire to create and make art and just be outside. I couldn’t ignore this thing in me.

“That said, I wanted to share my passion with other people and make the most of my life. I tried to ignore it but I was getting more miserable.”

She already knew the answer lay outside her door on the banks of the Thames.

When Nicola moved to London in 1999 she was almost immediately attracted to the river because it reminded her of her childhood in Truro.

“One day I was in Greenwich and the tide was low and there were these steps leading down to this long stretch of beach,” she said.

“I was just drawn to go down there and found this really peaceful world away from all my worries and my job.”

She started finding pieces of broken pottery and glass and used them to create art, just like she did as a child. Eventually she spotted her first coin.

It was then she discovered what she was doing had a name – mudlarking – the practice of scavenging through river mud for lost items of value or historical significance – this was a pastime enjoyed by a handful of Londoners back then.

But it has grown in popularity thanks to a blossoming online community, in which Nicola plays a large part.

She works under the name Tideline Art and has a YouTube channel with 135,000 subscribers where she documents her finds, broadcasting to 30,000 followers on Twitter and Instagram.

One of Nicola's pieces — One of Nicola’s pieces – image James Perrin

She also has a thriving business selling the art she crafts from the items she pulls from the mud.

Her glass fish, which she puts up for sale twice a year, go for around £250 each and typically sell out within 24 hours.

Later this year she will be giving a series of talks as part of the Totally Thames Festival.

“Mudlarking is such a part of my life I can’t imagine not doing it,” said Nicola. She took the plunge eight years ago, aged 45, quit her job and rented out her flat to embrace the mudlarking life full time.

“I had been doing it for about 15 years – making art in my spare time and I suddenly thought: ‘I want to see if I can do something I love with my life’.

“I was very nervous of leaving banking, but I was building up Tideline Art on social media and my website and things gradually came together.

“I think if you follow something you are really passionate about and put all your energies into it, then doors start to open up for you.”

Today she has a studio at her home in Woolwich filled with hundreds of treasures she has found over the years, including a silver half crown from Elizabeth I’s reign and a wax seal stamp that belonged to the Commodore Superintendant of Woolwich Dockyards .

“A while ago I was sitting in this room and thought – ‘Wow this is actually what I dreamed of as a child – it really fills me with joy’,” said Nicola.

Nicola also makes historic finds, including this 18th century onion bottle - — Nicola also makes historic finds, including this 18th century onion bottle – image James Perrin

She can be found on the foreshore as early as 6am and as late as 11pm, up to four times a week, looking for treasure.

“It’s very hard not to go because you think you might miss out on something,” she said.

“That’s the thing about mudlarking – you simply don’t know what you are going to find and that’s what keeps you going back.”

Her love of naval and industrial history means Greenwich, Deptford and the Isle Of Dogs are her favourite areas to go, kitted out in sturdy boots and knee pads with her trowel and phone at the ready to document any finds.

“You need patience and persistence,” said Nicola. “People might think you just stroll down to the Thames and come back with lots of bounty without any effort.

“What people don’t see are the hours you go down and don’t come back with anything.

“I get people asking where to go to find clay pipes, but mudlarks don’t give locations away because that is part of it – you have to go down and find out for yourselves. There’s no quick fix.

“I have never met anyone who isn’t inspired by this idea that you can find and hold history in your hands. It’s accessible to everybody.”

There are negative aspects though. The mud can be dirty, smelly and full of rubbish – particularly plastic – and, more recently, face masks. It can be dangerous too.

“I got stuck in the mud once,” said Nicola. “Luckily someone was with me, but it really was quite scary and gave me a new respect for the mud.

“The tides can rush up and you have to make sure you know where your exits are, because there are pinch points where you can get cut off.”

Another of Nicola's fish sculptures — Another of Nicola’s fish sculptures – image James Perrin

Nicola mostly mudlarks alone as she enjoys the meditative aspect of it, but she said there was a strong sense of camaraderie in the community.

“It can be competitive but also supportive – people will help you identify your finds and share information,” she said.

More important items do not get used in her art, but are researched and featured on her channels. Rarer items have to be reported to the authorities.

“You have to have a permit to mudlark from the Port Of London Authority,” said Nicola.

“One of the responsibilities we have is to report any find that is over 300 years old, or ones that are historically significant, to the Museum Of London and they put them into a database.

“It’s really not the financial value. If you are going into mudlarking for that, then forget it. It’s about the story behind the finds for any genuine mudlarker. I like to think of the Thames as a giant liquid storybook.”

So in all those hours on the foreshore has she ever let anything slip through her fingers?

“I don’t think I’ve ever lost anything but one day I would like to throw something in for someone to find in 300 years,” she said. “I wonder what they’d find out about me? It makes me think of my own story.”

And that’s the truth of mudlarking. Everything and everyone has a story to tell.

Treasures rescued from the mud - — Treasures rescued from the mud – image James Perrin

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- Laura Enfield is a regular contributor to Wharf Life, writing about a wide range of subjects across Docklands and east London

May 13, 2022May 24, 2022

Canary Wharf: How Lenderwize spotted telecoms’ companies’ need for finance

Level39-based firm verifies digital assets allowing money to be lent to the businesses handling them

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Lawrence Gilioli’s business, at least at present, is mostly hidden from the minds of the public.

Make a call from the UK to Brazil and the phone rings, someone picks up and the conversation happens.

As far as the user is concerned, they’re paying BT for that call and it’s delivering that connection.

Except, in the world of telecoms, that’s not what goes on.

“BT doesn’t have all the lines in the world, so needs to connect with an intermediary or wholesaler,” said Lawrence.

“They, in turn, don’t have all the lines either, so they need to connect to a terminating operator, which completes that phone call.”

It’s in this middle stage that Lawrence, a seasoned entrepreneur with a background in the telecoms industry, has identified his first market.

“These companies are invoicing each other – the middle man has to pay the terminating operator in Brazil and BT has to pay the middle man.

“However, typically the intermediary has to pay Brazil on seven days, but won’t get paid by BT for 60 days.”

That payment mismatch at worst means the wholesaler can’t do business at all, or limits what they can do, due to cash flow.

To address this problem, Lawrence created Lenderwize.

Based at Canary Wharf’s tech accelerator, Level39 in One Canada Square – but with staff distributed around the world in reflection of the industry it serves – its aim is to provide smart finance solutions for these companies.

“We are essentially talking about digital commodities and services here,” said Lawrence.

“Today’s world is ever more digital – that means traditional banks don’t understand it and they don’t know how to fund it, to validate activity or how to mitigate risk.

“So we’ve invented a fintech platform that uses patent pending technology to capture the digital assets behind phone calls, text messages and data use, for example.

“These things are intangible, but our technology makes them tangible because we are able to capture, validate and certify that these are real assets.

“That means you can lend against something Lenderwize certifies has been delivered.

“We understand this market because me and my partners come from this industry, which is huge – $64billion a year and growing. It includes voice calls, text messages, data use and, now, other e-goods and commodities.

“It is hidden to the general public and it’s even hidden to the financial world, because, being digital, once again, they will shy away from it.

“Typically banks or other investment institutions want to invest in real estate, the motor industry or tangible things like that.

“Consequently, there is this whole digital world that is under-served by banks and under-capitalised, but with a tremendous need because this area is only growing in size and companies need access to funding.”

Digital assets are increasingly important in a connected world

Having launched the platform two years ago with the intention of building a business ultimately to sell to a large financial institution once the concept is proven, Lenderwize now has 12 staff split across London, Italy, Australia, Holland and Switzerland.

“We have just passed processing 350million calls in the last year and we expect that to double this year and to triple within two,” said Lawrence. “We expect to surpass a billion calls.

“The way it works is that our clients buy into our system and the data is uploaded automatically onto our platform.

“That gives us access to their switches anonymously, so we can validate and verify that the information they are giving us on a daily basis is verifiable.

“Right now we’re doing that on a sample basis – looking at calls going to the same destinations from the same number and capturing durations and frequencies.

“We’re checking to see if the numbers are real and, ideally, will ultimately do that on every single asset.

“That’s part of our know-how, but it’s the case that the operators in this market require these services, so clients reach out to us because the need is so great.

“We have a very precise credit vetting procedure and our ability to verify the assets means we’ve only had one default so far, which is exceptional.

“I think the ability to analyse beforehand and then to validate on a daily basis is the key to success. It means that if there is something wrong, we discover it immediately, not at the end of the month.”

In addition to providing credit to these wholesale companies, Lenderwize is also in a position to embed a range of financial services in its operation.

Lawrence said: “We’re looking to exit in three years and we think we’ll be sexy to a bank, a telecoms operator, an insurance company or a big bank.

“That’s because ultimately we are an entire ecosystem that can be used for supply chain financing or supply chain payments, but the direction our fintech platform is going in, which mitigates risk, will be adding on embedded finance, insurance and payment solutions, all in real time.

“As this whole world gets more and more digital, the need to speed things up in real time becomes greater, from risk analysis to the transfer of value.

“Our direction is to continue to develop new technology but we don’t want to re-invent the wheel ourselves, we want to develop partnerships with high quality businesses.

“That’s why we’re so happy to be at Level39, because there’s so much interesting stuff going on here.

“We want to partner with organisations doing specific things to add to our mosaic, creating services for our investors and our clients.”

Lawrence hopes to also offer consumers financial services

As if revolutionising the finances of the telecoms industry on the business end wasn’t enough to be getting on with, Lawrence also has ideas about how Lenderwize might branch out into the consumer market.

“Today we’re B-to-B and tomorrow we want to be B-to-C,” he said.

“At the moment you’re probably paying a flat fee for your phone contract, but statistically you’re throwing away about 25% of that money.

“We want to give people the ability to convert what they’re paying for and not using.

“Three years ago, 25% of people surveyed globally said they would be likely or highly likely to change their operator on the spot if they got a phone call offering them a new deal.

“Three years later and that figure is 66% – there is no loyalty in the mobile world.

“This means that Vodaphone or BT, for example, could lose their entire customer base overnight, potentially.

“Mobile operators need to create loyalty programs, to create stickiness.

“So we will be proposing our finance-meets-telecom solution on people’s phones, where customers can place unused airtime that they have already paid for in an interest-generating wallet.

“We want to tackle two great inefficiencies – airtime and bank savings accounts that offer low or no rates of interest.

“We want to convert these from cost centres into profit-generating centres – a tool for everyone to use in a proactive way. We’ll be talking more about this later in the year.”

Lawrence, who holds dual Italian and American citizenship said he’d based the business in London because of the efficient infrastructure, easy access to clients and investors and tax breaks for startups.

“Level39 is at the heart of fintech in Europe, it’s also the coolest place to be aesthetically and it’s connected to all the banks,” he said.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

May 13, 2022May 13, 2022

Isle Of Dogs: Why the Massey Shaw fireboat is seeking new volunteers

Historic vessel lying in West India South Dock looks to ensure its stories continue to be told

Massey Shaw is currently moored at West India South Dock

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This is not the story of the fireboat Massey Shaw. How could it be?

Just to stand on the deck of this remarkable craft at her berth in West India South Dock is to feel her planks and steel plates quietly pulse with the decades of history they’ve absorbed.

It would be possible to fill this space many times over without coming close to bottoming out the sheer depth of material associated with this remarkable boat.

It might be the part she played saving goods worth many millions of pounds just a year after coming into service by blasting down the walls of a warehouse with the power of her main jet to stop a fire in its tracks at Colonial Wharf in Wapping.

It could be the more than 500 lives she saved as part of the flotilla of little ships launched to help rescue British servicemen from the beaches at Dunkirk in 1940 – ferrying soldiers from the land to larger craft and herself taking about 100 back across the channel, making three trips despite the danger of the sea and enemy fire.

Or it may be the part she played in the desperate firefighting effort during the Blitz.

But these stories – and many more – are best told by those who know, the volunteers who are working to keep her shipshape and who hope eventually to open her to the public as a museum ship.

Built in 1935 by J Samuel Whites at Cowes on the Isle Of Wight for £18,000 (more than £2million in today’s money) she served the London Fire Brigade from launch until 1971.

After a decade in the wilderness, in 1982, the Massey Shaw And Marine Vessels Preservation Society embarked on a project to restore her and to sail her once again to Dunkirk for the first time since the 1960s.

Today, after much passion, a sinking, restoration work, vandalism, repair and renovation, she lies by the entrance to West India Docks, sharing space with the 1920s steam tug Portwey and the Dockland Scout Project.

From there, the Massey Shaw Education Trust, as the society has become, intends to use its 40th anniversary year to raise awareness of its work, the vessel herself and the opportunities available for those who might like to get involved with the ongoing project.

Trust CEO David Rogers – himself a former firefighter, albeit a land-based one – said: “We’re a completely voluntary organisation and we’d really like to engage with a wider audience including people who are in Docklands.

“Perhaps they’ve seen this black and red boat that looks a bit strange – we often get questions about what she is and what she does.

“So one of the things we want to do is to get more volunteers of all ages who can come along and support us in our plans for the boat.

“We’ve had her for 40 years, but we see ourselves as custodians and we now need people to take her forward for the next 40.

“This boat has a unique history and we want to help people understand it and to help shape it whether they’re involved in the fire service or not.

“We want people to come and be trained so they can run the engines, operate the boat and man her pumps so she can appear at events.

“But we also have a big archive that we’ve built up over the years, so we need people with IT skills to help organise and digitise that.”

Massey Shaw Educational Trust CEO David Rogers – image Matt Grayson

Currently the team are working towards getting Massey Shaw ready to once more cross the channel in 2025.

“We’re part of Dunkirk Little Ships, which celebrates the journey made by those boats in 1940 to save troops from the beaches,” said David.

“The crews who went over during the war were all volunteer firemen and fortunately they all came back safely, but some of the soldiers they rescued had been badly injured.

“We’d especially like young people to take part in our next trip, to learn the skills that were taught back in the 1930s, which are needed to operate the boat so future generations can continue to enjoy and learn about her.

“Volunteering is a great deal of fun – over the 40 years I’ve been involved, I’ve met some fantastic people and I’ve always enjoyed it.

“It’s great when visitors come onto the boat, especially if they have stories to share about individuals who perhaps served on Massey Shaw or were associated with her.

Massey's 'monitor' which shoots its main jet — Massey’s ‘monitor’ which shoots its main jet – image Matt Grayson

“Also, the opportunity to go out on the boat, to show people what she can do and what it was like in its early days gives you a real buzz. We’re here to prove she can still do the job she was built for.”

Descend into Massey Shaw’s engine and pump room and you can see exactly what he’s talking about.

The beating heart of the vessel is her two main engines that require constant maintenance to both propel the boat and to power its firefighting equipment, capable of pumping enormous amounts of water to where it’s needed.

David says the main brass cannon on deck – called ‘the monitor’ – is capable of pumping 13,000 litres of water every single minute with enough force to propel the whole boat along when in full flow.

“Last year we had an open day and the pump was running and the harbour master ran up the dock and said it was just fantastic – that he’d never seen anything like it,” said David.

“That’s the reaction we want – people clap and cheer because it’s such a great thing to see. We’re hoping to hold another open day to raise greater awareness of what we’re doing on August 14 and we’re very keen to attract new visitors.

“Beyond that we’re working to get Massey Shaw ready for Dunkirk in 2025 and we have an Arts Council application in to become an independent museum.

“Then we want to find somewhere we can have a link to the shore so we can display our archive.

“We’re also looking to partner with other local organisations and companies so we can expand and move forward from here.”

The Massey Shaw Education Trust is actively seeking new volunteers, partnerships and funding for its activities.

One of Massey's two main engines — One of Massey’s two main engines – image Matt Grayson

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

May 12, 2022May 13, 2022

Tower Bridge: How Terrible Thames floats Horrible Histories down the river

Woods Silver Fleet operates the boat hosting the shows from its Tower Quay Pier in east London

Terrible Thames co-writer and director Neal Foster and Kate Woods of Woods Silver Fleet – image Matt Grayson

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It’s fair to say the Woods family have some history with the river.

Thames Watermen since 1866, Lillian and Alfred Woods launched sightseeing tours of the capital from the Tower Of London in the early part of the 20th century – an enterprise that boomed in the 1950s around the Festival Of Britain.

Lillian then encouraged her son Alan with his idea to gradually build the Silver Fleet – a series of vessels built for the Thames in Kent and Suffolk shipyards.

While Alan remains chair of the company, today its course is steered by the next generation – siblings Thomas, William and Kate – who have spent the last two decades overseeing its growth as a provider of luxury river cruise ships for events and private charters.

Over the years the Silver Fleet has welcomed film stars, politicians and members of the royal family on board – and that remains its core business.

But history also has a funny way of coming full circle and, in possession of refurbished 1980s vessel Silver Sockeye and, having acquired Tower Quay Pier, the family has made a move back to sightseeing, albeit with a fairly big difference.

“We had this boat, which was built by my father with a lot of love – it was looking fantastic after its refurbishment, with all the lovely woodwork inside – and we thought it would make the best sightseeing cruise in London,” said Kate Woods, who works as design and development director at Woods’ Silver Fleet.

“We also thought there was nothing on the river to entertain children, so we looked and looked and, without really understanding how Horrible Histories worked, we approached Neal with the idea that we were Thames Watermen with a nice history and that it would be an interesting idea to bring the brand to the Thames.

“We’d also bought the pier by Tower Bridge, which is a great location, so we were absolutely delighted when it fired him up.”

Silver Sockeye in here Terrible Thames livery

Neal, by the way, is Neal Foster – actor manager of the Birmingham Stage Company, resident at The Old Rep Theatre and the man responsible for bringing Terry Deary’s Horrible Histories to the stage worldwide as well as conceiving performances under its irreverent cartoon umbrella for the likes of Warwick Castle.

Woods’ approach resulted in Terrible Thames, a tour unlike any other on the river in that it’s a full blown theatrical performance complete with sound engineer, soundtrack and an ever-changing backdrop as the boat makes its way to Parliament and circles back to Tower Quay Pier via Execution Dock at Wapping.

Co-written by Neal and Terry, one of the biggest challenges for the team was adapting the content to the speed of the boat – something that constantly changes and is dictated largely by the ebb and flow of the tide.

“We’ve been doing Horrible Histories since 2005 and in the West End for 10 years, but we’d never done it on a boat,” said Neal.

“I was instantly attracted to the idea – I’ve always loved rivers. If I’m visiting a city, I’ll always head for a trip on a boat, so being on a boat for long periods suits me very well.

“It was also clear there was an awful lot of history in the section of the Thames we’d chosen to work with, so wherever possible we decided we wanted to attach it to whatever you could actually see from the boat.

“When we were writing the show, the two biggest problems were that firstly I didn’t know where the audience’s attention would be – whether they would be looking at the actors or at London going past.

“It turns out they were looking at the actors a lot more than expected so we had to make sure the characters really pointed to the things they were talking about.

“The second issue was the change in speed – you could almost say no two trips are ever the same – so the script had to be adaptable to cope with that while still being manageable for the actors, all while performing for the audience.

“That’s why we’ve had to rehearse thoroughly – you need actors who can think on their feet and react quickly.

“It’s a bit like doing Hamlet, but the ghost might appear at the end of the play instead and you have to kill Claudius three acts early.

“It’s why you need the sound engineer – to make sure everything happens at the right time.”

The show features a student and a teacher on a trip down the Thames

Terrible Thames cruises run regularly at weekends and during school holidays – with a full complement of half term sailings from May 30 to June 3.

“With stories constantly updated and added, it’s a 45-minute ride designed to impart knowledge with plenty of humour and the brand’s customary gore.

“The whole thing that Terry is doing with Horrible Histories is to tell you the history you don’t know or that the stories you think you know are actually completely different,” said Neal.

“One of the captains working on the boats said that he had been on the river for 20 years and he hadn’t ever known any of the stories, and that’s a chap who has lived and breathed the river.

“It really is something for Londoners as well as visitors to the capital.

“When we were writing it, Terry came up with the great idea of it being hosted by a teacher and a student who has won their school history prize and is being taken on the trip as a treat.

“The student and their family have been on the river all their lives so they are quite confident they know more about its history than the reluctant teacher. So it then becomes a battle about who knows more.

“There are 40 or 50 stories in the show, which takes in Tower Bridge, HMS Belfast, Cleopatra’s Needle, Parliament and the Gunpowder Plot – which was really on November 4 – Boadicea destroying London, the Golden Hind and even people fleeing the Great Plague by hiding on boats on the river, who died because that’s where the rats all were.”

Kate added: “I’ve been really touched by people’s reactions to it.

“With all the trained Thames watermen, there’s a real London feel to the whole experience and it’s been put together with so much love, from the actors to the illustrations on the boat that were hand-drawn especially for us.

“There’s something about the two brands going together that works so well.

“It’s been really well received, and we were sold out at Easter, but we do sometimes have walk-in spaces so if you’re in the area, it’s always worth checking the timetable.”

Terrible Thames cruises take place at weekends, daily in school holidays and on occasional days during term time to accommodate tourists and school visits.

Adult tickets cost £22 off peak and £25 on peak, with kids costing £14-£15 respectively. Under-3s go free and family tickets cost £65-£72 for two adults and two kids.

Bookings can be made here

The Terrible Thames cruises leave from Tower Quay Pier

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

May 11, 2022May 11, 2022

Canary Wharf: Discover Patricia Volk’s vibrant clay sculptures with Cornucopia

Artist’s mid-career retrospective at One Canada Square brings more than 40 of her works together

Artist Patricia Volk with some of her pieces – image Matt Grayson

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“It annoys me slightly when someone describes me as a ceramicist or a ceramic sculptor, because I don’t think the fact I’m working with ceramics has anything to do with the pieces I produce,” said artist Patricia Volk.

“I have no interest in doing glazes or anything like that – I’m not a potter.

“I also have no interest in repeating things – I like to keep changing and developing. I like things to look as though they’re slightly unsteady, as if you would have to put your hand underneath them to stop them falling over.”

Cornucopia, a mid-career retrospective featuring more than 40 of her sculptures, is currently filling the lobby of One Canada Square in Canary Wharf.

The exhibition, which will remain in place until June 10, 2022, is free to visit and open every day.

The brightly coloured forms, often twisted and curled in on themselves, present a stark contrast to the marbled hues of the tower’s ground floor space.

“When I’m making the piece, I never think of how people might respond at the other end,” said Patricia.

“But I would like to think that people would enjoy seeing them, and maybe that the work would give them something to think about as well.

“I hope people are moved and might pick things up that I might have been thinking about subliminally. There is a series of pieces called Source – very simple forms – that I really liked doing.

“They’re a contradiction with the totem pole pieces, which are quite complicated, because they are very simple forms with a drip.

“They have to be made properly because the drip won’t go where it’s supposed to if they aren’t – I can’t tell you how much satisfaction I get from doing those drips.”

As we talk, it becomes clear there’s a real connection in Patricia’s life between the work she creates and her own and others’ reactions to it.

Born in Belfast, she wanted to be an artist from an early age.

More than 40 of Patricia's works are on display — More than 40 of Patricia’s works are on display – image Matt Grayson

“It was what I always wanted to do – I can remember when someone asked me when I was five years old what I wanted to be when I grew up, and I said I wanted to be an artist,” she said.

“My father was a member of the Ulster Arts Club and, when my mother wanted to get rid of me on a Sunday morning, I was packed off there.

“I remember walking around and looking at the paintings on the walls and the beautiful sculptures. It was a fantastic place and it was something to aspire to, definitely.

“I’m very dyslexic – I can remember starting school at the beginning, drawing a picture of a wedding and my teacher calling in another teacher to have a look at what I’d done – that’s where all my self-esteem came from.

“I was completely obsessed with drawing – people would come up and ask me to draw a picture. I always won the prizes.”

With no portfolio, however, art college was an impossibility and Patricia got a job in the textile industry before moving to London at the age of 17.

Again unable to get into art college – something she admits would have been a remote possibility for someone of her age – she nevertheless found work and stayed.

“It was when everybody believed that London was the most exciting place and two of my friends decided to leave home,” said Patricia.

“We were very, very young, and I thought I’d just do that as well. My mother was delighted to see me go and I just stayed.

“Things happened, circumstances happened. I got a job very quickly here and I got married very young and had a child.

“I came over in the April and the Troubles started in the August.Then there was no going back.

“It was a bad time, but people here were very kind to me. I got a job as a typist and then went to work in advertising and met my husband.

“The group he was with had all been to art college – they’d done film and TV.

“Then, one night, in my mid-30s, after 16 years of not drawing, I picked up a pencil and thought that I could still do it.

Patricia's early work focussed on heads — Patricia’s early work focussed on heads – image Matt Grayson

“I said to someone that I had always wanted to go to art college, so I took a year out, went to adult education classes at the Camden Institute and Islington Institute, and did life drawing and clay modelling.

“I remember someone walking in and seeing a figure I had done, and saying that I’d got something – that I could do it, and it gave me such pleasure.

“Looking back, there’s always been someone who has said something like that when my confidence has been at its lowest, to pick me up and make me look forward.

“In that year out I got a portfolio together, applied to Middlesex Poly because someone said I had to do a foundation course.

“I went to a party and someone asked what I was doing, and I said that I wanted to go to art college but I’d never get in because I was shit, and they got my address, got an application, sent it off and, although my husband said I’d never get in, I did, and that day was the happiest day of my life.

“For the first time, I hadn’t told any lies about my qualifications and I’d got in because of what was in my portfolio.

“So then I started my education at Middlesex Poly, and went on to do three-dimensional design. After I’d done my degree it was my mindset to go out and earn a living.”

And to a certain extent, that’s what she did.

Constantly altering and changing her approach she’s progressed from making monumental heads to writhing coloured forms and vibrant totem poles.

Recognised as a Royal West Of England Academician and a fellow of the Royal Society Of Sculptors, her work can be found in numerous private, national and international collections including the Swindon Museum And Art Gallery.

Perhaps her success can partly be explained by the forces and inspirations at work within her pieces, absorbed throughout her life.

She said: “As a trainee designer in Belfast, the lady who ran the company had come from Vienna with absolutely nothing and had certain ways of doing things.

“She taught me how to do patterns so no material was wasted. Even now when I roll out a big slab of clay I’m thinking ‘100% economy’.

“It’s interesting how the things that happen to you when you’re a lot younger have such a dramatic effect.

“What’s important to me about my work is that it keeps me sane when I’m feeling down in the dumps.

“It’s fascinating that pieces I’ve done which people find uplifting may have been done when I’ve been feeling depressed.”

Patricia's pieces are made from clay and often hollow — Patricia’s pieces are made from clay and often hollow – image Matt Grayson

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

May 11, 2022May 11, 2022

Rotherhithe: Why UK Wallball is launching courts at Surrey Quays Shopping Centre

Organisation’s CEO wants facility to be used as an urban playground to help boost Londoners’ activity

The courts have been installed at Surrey Quays Shopping Centre

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Sunlight streams down onto the freshly minted wallball courts at Surrey Quays Shopping Centre.

I bounce the rubber ball and slap it vigorously with my hand.

My opponent steps in, makes an easy return, I dash forward striking the yellow sphere deftly into the bottom right hand corner of the wall, where it bounces back into the court and lands stone dead. The point is mine.

I lose all the other points, of course, but then my opponent is founder and CEO of UK Wallball and a former European No. 1 singles champion. So I don’t feel too bad.

Dan Grant and the governing body for the sport he runs are on a mission to get as many people as possible outside, active and bouncing balls against walls.

Installed in partnership with British Land, the two UK Wallball courts on the Rotherhithe Peninsula will be free to use (if you’ve brought your own ball) and can be turned to any number of game variations following their forthcoming launch on May 12, 2022.

Dan said: “Wallball is a simple, accessible sport where you hit a ball against a wall with your hands. Lots of people will have done it at school – called it pat-ball, Eton Fives, one-wall handball – there are lots of different names for it, but ‘wallball’ is the one they play around the world.

“This is the one wall version and it’s the international standard.

“Basically, you have one big rectangle marked out on the wall and one big rectangle on the floor. The main thing is – all you need to do is hit the ball with either hand so that it hits the wall and lands in the court.

“It can bounce once before it’s hit again and then you rally away until it either bounces twice or it goes out.

“The way it’s scored is that you get a point for each rally won on your serve – if you lose the rally then it’s your opponent’s serve. Games are usually played up to 11, 15 or 21 points.

“The easiest way to think of it is that it’s like playing squash against one wall – but there’s no line to hit it above, so you can hit it low and kill the ball.

“For the service, the ball has to hit the wall and land in the back half of the court and then it can land anywhere in the box.

“There’s also a blocking rule – if I hit the ball and then don’t move, I’m a legitimate obstruction that the other player has to try and get around.

“You can’t rugby tackle the other person out of the way – it’s a non contact sport – so they have to get round you to get the ball back.”

UK Wallball CEO Dan Grant pictured at the new courts

Having travelled the world playing the game Dan subsequently trained as a doctor, so his interest in promoting sport goes beyond pure publicity and is firmly rooted in the physical and mental benefits of outdoor activity.

“Our aim at UK Wallball is to try to get as many people from as many different backgrounds as possible active.

“In cities where grey space is increasing and green space is disappearing, we think people should use walls for things like this.

“There are official rules, but our motto is: ‘Any wall, any ball, anytime’. We don’t care how people use the courts, so long as they are being used.

“If people want to invent their own rules, they absolutely can. This whole space at Surrey Quays can be used for a lot of other things – not just traditional wallball.”

The Rotherhithe installation is the first multi-court facility for free use in the country.

Alongside the two playing areas is a third space where those waiting to have a go can hang out, spectator searing and a vending machine selling balls and gloves.

Dan said: “Last year, we did our first proper community court at Bankside, which was also a really vibrant installation.

“That was us working with the Jack Petchey Foundation to target young people in London.

“When it went up it got a lot of media traction, which was awesome. I think a lot of people during the pandemic realised exercise in the open air was a pretty good thing, and that wallball is cheap too – in fact, if you have your own ball, it’s free.

“Off the back of that, British Land, which is regenerating the area around Surrey Quays and Canada Water, saw it, thought it was pretty cool and got us down to find out if they could do something for the community here.

“I persuaded them that they should and so we’ve installed the courts.

“We got our artist back – Dan Gurney – to make them look great. I really like his geometric approach. It works really well in an urban space.

“When you do this kind of thing, you want the courts to feel like they belong, so the design is inspired by both the greenery and the docks on the Rotherhithe peninsula.

“We’ll also have posters telling people how to play and how the design of the courts fits into the local area.

“The way we think of it is as an urban amphitheatre – yes, we want it to be used for wallball, but other sports and arts organisations can get in touch with us and use the space as well.

“It’s also that street to elite philosophy – I want a kid who’s played on these courts, hasn’t had to pay for anything apart maybe for a couple of quid for a ball and then for them to go on and play for Team GB. That would be really cool.”

A vending machine will sell balls on site or players can bring their own

Dan, who works as a doctor in emergency medicine and medtech, believes wallball could be the next big thing in the UK – something he believes would be beneficial to the health of the nation should urban environments embrace it.

“Everything we’ve learnt over the last few years suggests it will catch on in the UK,” he said.

“It’s already big in Ireland, Spain and the Basque Country – it’s huge in the USA. In New York there are 2,500 courts. Wallball is taking off here too.

“We’ve started working with schools over the past couple of years and the kids love it. It’s not just sport either – when we put a court in a school we can give them a blank canvas and they can design it, so there’s a creative element there too.

“Our ethos is that it’s not super-serious.

“Of course, there are pathways for GB Juniors to go straight to the top, but if you just want to turn up and play, that’s fine too.

“I feel like if the kids are enjoying it, then that’s good for all of us.

“As a doctor I’m interested in prevention. We know that if you’re just active and walking around, then that’s really good for you.

“As you travel you see people from the lowest socio-economic backgrounds have the worst outcomes in terms of health. So, having an urban space that feels safe and fun is much better than the alternative.”

The UK Wallball courts at Surrey Quays are set to launch on May 12, 2022, from 1pm-3pm.

The courts will be in place on an ongoing basis.

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

May 3, 2022May 3, 2022

Canada Water: What Squid Markets’ Canada Water Market offers shoppers

Company behind Wapping Docklands Market expands to Deal Porter Square, south of the Thames

Canada Water Market on its very first day of trading

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Not to be confused with South Korean ultraviolent Netflix phenomenon Squid Game, Squid Markets has reached a milestone.

On the first birthday of its first successful project – Wapping Docklands Market at Brussels Wharf – it unveiled a second, this time south of the Thames.

Even for its first iteration on Easter Sunday (April 17, 2022), it was clear Canada Water Market is the right thing in the right place.

Despite hordes of Londoners heading off to see families, the traders, street food vendors and refreshment stalls were doing brisk business at Deal Porter Square – something that will doubtless continue as the market is set to run every Sunday outside the library from 10am until 4pm.

It offers visitors a heady blend of live music, cuisines from around the world, German beer, wine, baked goods, fresh produce, crafts and art – a place to shop, but also to meet, eat, drink and be merry as the sun sparkles on the waters of the nearby dock.

The divide created by the Thames itself was indirectly the inspiration for Squid’s latest venture – a physical obstacle that Londoners have been working to overcome (somewhat unsuccessfully) for hundreds of years.

While previous generations have tried tunnelling to connect Wapping and Rotherhithe, for Squid founder Will Cutteridge the solution was simpler – take what already works in one location and replicate it in another.

“We know at Wapping Docklands Market that the majority of our customers come from north of the river,” he said.

“So I thought we should have a market south of the Thames but in relatively close proximity to our first operation.

“That way we’re able to start to grow the brand both in east and south-east London. That’s when I started looking for sites – literally on Google Maps, zooming into open spaces.

“Because London is so densely packed, if there’s a large open space it’s pretty obvious and I began looking in Rotherhithe and Deal Porter Square seemed the obvious place to do it – it was the right sort of area for what we’re offering.”

Art by Ed J Bucknall on sale at the market – more here

With swathes of regeneration already completed – and a great deal more in pipeline – the peninsula has seen a steady increase in population with new businesses and ventures arriving in the area. So what is Squid bringing to that mix?

“Canada Water is, like Wapping, primarily a food market,” said Will.

“We want people to come and do their weekly shop with us, get all their fruit and veg, their bread and all the standard items, while also grabbing a coffee and catching up with their neighbours.

“One of the most exciting things that we’ve seen at Wapping is that it has brought the local community together.

“People who live in the same building, right across the corridor from each other and have never spoken, have met at the market, and I think that’s the joy of something like this.

“That’s exactly what we want to create at Canada Water – something that brings people together in an old-fashioned way.

“I think that’s important in this day and age, because people don’t talk to each other in London very much and the market provides a friendly environment where they can.

Produce from Chegworth Valley is also available – more here

“You go to the supermarket, pick up a bunch of carrots and put them in your basket, and it’s not very immersive or interactive.

“If you buy a bunch of carrots from our Chegworth Valley stall, the team running it all live and work on the farm – they pick the fruit, plant the seeds, and you’re meeting the people who grow your food – you have a dialogue with them, come back every week and it’s always the same people.

“We also have a small craft section in all our markets, because we tend to find that there’s a lot of local people who have a side gig making things.

“For example, we have a a guy who hand-makes all his terrariums – Plant And Person – which is quite cool.

“Hosting those pitches is a great way to get local businesses to the market, and it provides a bit of variety in addition to the food itself.

“We also have a local artist – Ed Bucknall – who sells his works, and one lady who takes all of our empty bottles from the wine stall at the end of the day and uses them to make candles.

Cheese from The French Comte – more here

“Street food is, of course, a critical part of our operation – visitors to the market can do their shopping and then listen to some live music, have a beer or a glass of wine and then grab a pizza, some curry, steak or a wide variety of Asian food.

“There’s also a guy selling Portuguese sandwiches and vegan Caribbean food from Joy’s Caribbean Fusion, so there’s a lot to choose from.

“Our plan is to have a total of 35 traders here, which is enough to provide a really good mix of food, produce and services – we’re always on the look out for new traders, so anyone interested should get in touch.

“We might have re-branded, but we remain hugely passionate about sustainability – it’s incredibly challenging but it’s something we remain focused on.

“One of the ways in which Squid does this is to find small businesses through its markets and help them build their brands nationally – we’re always seeking really interesting food producers that we can go into partnership with.”

Spinach rolls for £4 from Rodgis – more here

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

April 28, 2022April 28, 2022

Canary Wharf: How Ian Berry is set to create a new artwork from donated denim

The Poplar-based artist’s piece will be unveiled on the estate for World Environment Day on June 5

Artist Ian Berry, pictured surrounded by jeans in Cabot Square

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Artist Ian Berry wants his work to be seen in real life – so apologies to anyone reading the this.

These reproductions might give you an idea of the kind of pieces he creates, but 2D reproductions on paper or digital screens just don’t cut it.

Based in Poplar, but hailing from Huddersfield via High Wycombe, Australia, Sweden and the Netherlands, the constant in Ian’s life is also his medium – denim.

Cutting, layering and gluing, he creates images and installations using a palette of jeans, constantly pushing to make the material accurately depict all manner of scenes, lighting effects, substances and surfaces.

The reason you’re looking at one of the pieces from Ian’s Behind Closed Doors series is that he’s just embarked on a project in partnership with Canary Wharf Group.

With used clothes donated at Jubilee Place last week, he’ll be stripping out the denim and using it to create an artwork, which will be unveiled on World Environment Day – June 5.

Detail for one of Ian's pieces for his Behind Closed Doors series — Detail for one of Ian’s pieces for his Behind Closed Doors series

“My work needs to be seen in real life to be understood,” said Ian, who works from a studio overlooking the Limehouse Cut canal.

“I don’t really feel like a real artist to those who haven’t seen my work in that way.

“I’d spent the pandemic having seven different shows in other countries – most of them solo and that was tough with all the quarantines and shipping issues.

“I’d just got back from Chile when I got an email from Canary Wharf asking about this project.

“At first I thought it would be great just because I could walk there rather than having to take pieces on aeroplanes.

“I walk through the estate when I catch the Jubilee line, so I thought it would be a good opportunity to get my work seen by more people in real life.

“But it also sounded interesting because of the estate’s sustainability credentials – it’s something that’s taken very seriously whereas some other places just use it for marketing. I’ve not spoken much about sustainability in the context of my work.

“Others have – as recycling or upcycling – but when I started 16 years ago it wasn’t the buzzword it is now.

“The project I’m doing with Canary Wharf Group reflects sustainability and the environment – denim’s terrible in its impact at the end of the day – but there are also good things happening in the industry.

“I don’t believe there’s a material that better reflects contemporary times, good or bad.”

Detail from Ian's Secret Garden — Detail from Ian’s Secret Garden

That really is the crux of things for Ian. While we talk it becomes clear there are all sorts of tensions at work between the artist, his medium and the subjects he chooses.

He tells me denim stands for freedom, democracy and the West to the point where it was banned in Russia and Belarus, where it’s still worn symbolically by dissenters.

Then again, it’s also the clothing of capitalism, excess and greed, with designer jeans selling for astronomical sums.

“I’m interested in people and in the denim industry, in workers’ rights,” said Ian. “I know everyone in the sector and there’s a lot of greenwashing going on – a lot of lying and they even tell me what their lies and exaggerations are. It’s frustrating.”

While Ian’s pieces are necessarily shot through with such issues – how noble attempts to pass on clothing to do good can come unstuck as second-hand garments wind up flooding foreign markets or simply get dumped overseas, for example – the denim he uses is also, importantly, just the stuff he uses to capture the world.

“I use it literally as my paint to represent contemporary life and issues you see every day,” he said.

“I have struggled for 16 years to know what to call them – they’re not paintings, they’re collages, but using just one medium.

“In some there are 16 layers of denim, so they are very sculptural, 3D pieces, and they can be very effective, with the texture of the denim as well. All that gets lost if people look on their phones or laptops.

“The magic in my work is finding the gradients in the denim, the fades, the cat’s whiskers – where it goes from indigo to lighter shades. You can connect them together and get quite a photo-realistic piece.

“Sometimes I achieve that too well and people don’t realise it’s jeans, but you need that ‘aha’ factor for people to connect.

“It happens in America especially, where people look for a while and then get closer and closer and, at about 50cm away, they say: ‘Oh, my God, it’s blue jeans’. I don’t want it to be seen as a gimmick, though.

“I hope people appreciate the craft, the love and attention to detail and they are amazed that the piece is made out of denim.

“I do set myself technical challenges – how to depict shiny, metallic objects or water using this matt material. But the main thing is the subject.

“With the Behind Closed Doors series I wanted to depict this busy city we’re living in, which can be lonely.

“That really connected with people – two out of three were saying: ‘Wow, that’s me’ – and it was kind of special.”

Ian, whose granddad was from east London, said he wasn’t sure what kind of piece he would create from the jeans donated in Canary Wharf.

He said: “Hopefully the piece I create will cause discussion and make people think.

“I can’t give too much away at this stage in case the idea changes but I think it’s going to have an element of my hanging Secret Garden, which turns plants into cotton, into jeans and then back into plants again.

“There’s a nod to sustainability in that – it’s nice because we can make something permanent out of the jeans.

“If you wear a pair for 10 years and then throw them away, it might be just about OK, but now we have a world where people buy them, wear them two or three times and throw them out.”

Ian’s piece will be added to the Wharf’s permanent art collection.

Detail from The Roosevelt, LA, by Ian Berry

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- Jon Massey is co-founder and editorial director of Wharf Life and writes about a wide range of subjects in Canary Wharf, Docklands and east London - contact via jon.massey@wharf-life.com

April 27, 2022April 27, 2022

Woolwich: How Woolwich Works is relishing the prospect of an uninterrupted season

Vast multi-arts complex at Royal Arsenal Riverside has venues for performance, rehearsals + recording

The exterior of Woolwich Works main building – image Timothy Soar

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“Activity” is the word buzzing around the lips of James Heaton as we sit in Beanfeast – one of the magnificent exposed brick spaces that form part of the vast Woolwich Works complex.

For the CEO of the Woolwich Creative District Trust – set up to independently operate the site on a not-for-profit basis – it’s a welcome change, given the challenging stop-start conditions of two years of pandemic restrictions.

Now though, even largely empty on a sunny Wednesday morning in April, there’s a life about the place – the vibration of possibility in its walls.

That’s something James and his team intend to nurture and feed as the months roll by until its performance spaces, rehearsal studios, recording facilities, cafe, bar and offices are all humming with the industry and pulse of cultural creation.

what is Woolwich Works?

James confessed at the start of our interview that, despite having been in post for nearly three years, he’s yet to find a rapid way of answering this question – testament, perhaps to the sheer scale of the project he’s steering.

“Woolwich Works is physically five buildings on the Royal Arsenal Riverside development in south-east London,” he said.

“They’re all former military buildings and are Grade II or Grade II* listed. The site overall is about 20 years into its redevelopment by Berkeley Homes.

“With Woolwich Works, Greenwich Council wanted to achieve a number of things.

“Fundamentally the beginning of this project was looking at these historic buildings and their situation and taking the view that it was important to preserve these spaces in public use for the benefit of everyone in the borough and beyond.

“A decision was made to develop the focus of these buildings as being around an arts and culture offer. Ultimately that’s how we’ve got to where we are.

Woolwich Creative District Trust CEO James Heaton – image Jon Massey

“Three of the buildings, all joined together – The Cartridge Factory, The Laboratory and The Carriage Works – are home to phenomenal immersive theatre company Punchdrunk, which has just launched its first show at the site and is also resident at Woolwich Works.

“The spaces have been joined together and audiences walk into a whole world and navigate themselves around it.

“Then, on the other side of No. 1 Street, there’s our main building, which has four wings around a central courtyard. That houses a number of venues, rehearsal studios, a recording studio and offices. We also have space in The Academy building next door.”

In addition to Punchdrunk, Woolwich Works is also home to the National Youth Jazz Orchestra (NYJO), the Woolwich Contemporary Print Fair, Protein Dance and Chineke!, an orchestra of predominantly black and ethnically diverse classical musicians.

Alongside the cafe, performances typically take place in either the 1,504sq m of the Fireworks Factory – a flexible auditorium that can be set up in any number of configurations – or Beanfeast, a smaller, narrower venue on the first floor with views over the Thames.

what’s the intention?

“Woolwich Works is a multi-arts venue with lots of different spaces so we can present a varied performance programme,” said James.

“We have the resident companies and they will contribute to that as well as running various creative and community initiatives that offer opportunities to people living locally.

“These might be in schools or, for example, in our recording studio which will be the last thing to open here.

“We have world-class facilities and resident companies, but we’re also community focused, so if you’re someone who lives nearby and who wants to dip their toe into music, film or design, then we’ll facilitate that with formal training alongside mentoring, coaching and the chance to work with professionals.

The Fireworks Factory at Woolwich Works in full swing – image Chris Morgan

“Underpinning everything we do is that we’re a catalyst for collaboration. The aim is to create an ecosystem and we’re already seeing people working together. Our role at the trust is partly to cultivate that.

“The aim is that the professional, the community and the emerging all come together – whether through work experience, jobs, volunteering or performance opportunities – to help build pathways and open up the arts to everybody. We want to bring those opportunities to people who may be under-represented or who think they can’t access them.”

what’s coming?

“The near future is rooted in the fact that we’re looking at a horizon where things are relatively stable,” said James.

“We’ve never had that before and, next month, the building starts to get really busy. Almost everything gets going in May and stays running.

“We have what was our festive cabaret – The Grotteaux – opening as a springtime show instead and that looks bonkers, fantastic and eclectic.

“Our comedy, music and family programmes will continue throughout, and we’re really looking forward to the whole site being animated at the same time.

The main venue can be used in multiple ways – image Timothy Soar

“Then, in July, we’re launching what I’m hoping will become an annual festival here called Woolwich Words And Sounds.

“For that we’ll be programming the whole building with all sorts of different live music, comedy, literature and spoken word performances.

“We’ll have singer Alice Russell and also an amazing jazz saxophonist called Bob Mintzer who’ll be playing some of his big band repertoire with NYJO covering the last 40 years.

“Part of the thing that’s exciting about Woolwich Works is that its layout really lends itself to a festival model – there’s a big area of outdoor space and we want to have some food, drink, deckchairs and free music out there for people to listen to.”

open for business?

“The trust is a true not-for-profit, which means it has to sustain itself and look after the buildings through earned income,” said James.

“That means we do commercial hire for events – dinners, conferences, private celebrations and meetings – all the things you’d expect a big venue to cater for.

“We’ve had a few weddings and, of course, we’d like a few more. But we’re also here for the creative community with lots of rehearsal space available.

“The sector as a whole needs these spaces and the aim is to be available to artistic companies that aren’t based here.

“The idea is that doing this will also contribute to the ecosystem because when we have companies in residence for four or five weeks, inevitably they will meet other, like-minded people in the cafe or around the building.

“Creative people become more creative when they’re in touch with other artists.

“In the end, our success will be seen in the people who have progressed through Woolwich Works and who have gone on to do great things.

“It will be the stories of those people who found their opportunities here and were supported to find their life within the arts.”

Punchdrunk's The Burnt City is playing at Woolwich Works now — Punchdrunk’s The Burnt City is playing at Woolwich Works now

SHOW TIME

The Burnt City, Punchdrunk at Woolwich Works

Immersive theatre company Punchdrunk has opened its show at Woolwich Works, with tickets now booking into December.

The Burnt City transports audiences to the Trojan War with two distinct, detailed worlds to explore packed with mysterious characters to meet.

Troy is reimagined as a dense sci-fi city with an aesthetic inspired by Fritz Lang’s Mertropolis, while Greece is a wasteland filled with jaded soldiers and eerie memories of ancient gods.

Presented as a promenade performance, ticketholders are free to wander these environments at will, interacting with the characters over 100,000sq ft of space

The production is the company’s first show in London since 2014 and its most ambitious to date, reuniting the team behind Sleep No More including original cast members from that show.

Performances last up to three hours, with six arrival times at 10-minute intervals.

Shows on Tuesdays-Fridays start at 6.30pm, Saturdays 1.30pm and 6.30pm and Sundays 4.30pm.

Tickets typically cost £66 with limited “rush tickets” available for £25 for every performance through Time Out.

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