The venue’s private dining room is named Queenie Watts after the Isle Of Dogs singer and publican and can accommodate up to 21 guests around its brass-topped dining table.
Downstairs, the Hawksmoor Bar can be hired with a maximum capacity of up to 330 guests in the summer months including its terrace.
Inside, the space can fit 90 for dining with an option for semi-private hire accommodating 60 guests.
what about the facilities
The venue is well versed in events with the team able to arrange everything from appropriate food and drink to entertainment and DJs.
The venue has a private dining room called Queenie Watts – image supplied by Hawksmoor
what’s on the menu
Hawksmoor offers both canapés and bowl food options for organisers to consider, as well as a wide selection of drinks.
Sample menus can be found on the venue’s website, with parties able to take advantage of the team’s flexible approach.
all kinds of everything
The restaurant and bar are able to host not only summer parties, but networking events, business presentations, team nights out and private dinners as well as weddings for up to 100 people.
Menus are built around the brand’s steaks, seafood and seasonal sides, with plenty of options to suit all dining requirements.
The venue can cater for events with up to 330 guests – image supplied by Hawksmoor
key details: Hawksmoor Wood Wharf
Hawksmoor Wood Wharf is open daily for lunch and dinner.
Leeds-based Phoenix Dance Company returns to the East Bank venue, following the sell-out success of Inside Giovanni’s Room last year, to showcase a programme of four pieces.
“Interplay is all about artistic expression – what we wanted to do was to produce works that were varied and that ask what it means to express ourselves in different ways with specific reference to the idea of duality,” said Marcus Jarrell Willis, artistic director at Phoenix.
“The key is in the title we’ve given the show – it’s a way for us to remember that, while this is a dance programme with a unified theme, we don’t always have to take everything so seriously.
“Yes, there are meaningful messages in the different works featured, but it’s also about simply offering a full palette of dance so audiences can take what they want from it.
“I don’t have any intention of trying to prove anything with that, I just want it to be something that people can connect to.
“People may love all the works, just one or none of them.
“I just hope those watching feel something, that they are impacted by what they see and that they receive something.”
Phoenix Dance Company artistic director Marcus Jarrell Willis – image by Hugo Glendinning
choosing the works
For Interplay, Phoenix, which operates as a rep company, will present Marcus’ Next Of Kin, Ed Myhill’s Why Are People Clapping?!, Travis Knight and James Pett’s Small Talk and a new collaboration between Marcus and choreographer Yusha-Marie Sorzano entitled Suite Release.
Some are duets while others are ensemble works.
Marcus said: “The programme actually came together quite seamlessly.
“With one selected, immediately it tapped into my brain and I’d think of a complementary work to go with it – it all gelled.
“Small Talk came first – I’d been following Travis and James’ work already, connected and had a conversation.
“A year prior to them creating, I just invited them into the studio to have a jam session, to play and to see how they related, with no real expectation.
“Straight after that, there was something there, which led me to commission the work.
“I’d seen Ed Myhill’s piece years before in different iterations.
“He grew up in Leeds and has been a dancer for a long time in the National Dance Company Of Wales.
“When I first came to the UK to focus more on creating dance I was based in Cardiff and I’d viewed Why Are People Clapping?! digitally during lockdown and then seen it on stage.
“It’s set to Steve Reich’s Clapping Music, so people’s hands are the driving force that create the rhythm for the dancers.
“It’s really interesting to see something so unusual, but also about who is coming to our company.
“I’ve known Ed for a long time and I knew he’d bring a great energy to our studio and the culture of Phoenix.
“From there, I knew I wanted to restage Next Of Kin, which I choreographed and originally danced with a dear friend many years ago.
“I was quite precious about it at first, but I realised I wanted it to be reimagined with this company because there are such special relationships between the dancers and this is a work that draws on those.”
Ed Myhill’s Why Are People Clapping? features in the programme – image by Drew Forsyth
a step into the unknown
“Finally, there’s Suite Release, which has been an incredible project. It’s my first time co-creating,” said Marcus.
“I’ve cooperated on many projects but never with another choreographer and it was about recognising that, while I have responsibilities and expectations, I’m still learning as well.
“So, I dug deep into what that might look like, picked up the phone and called Yusha-Marie. We have a 25-year-plus journey together.
“We danced together and have been friends for many years and we have seen each other grow.
“I wanted to make sure that it was with someone who I felt comfortable with but who would still push me and that I could push.
“We’d spent all these years in different companies, continuously trying to enhance and perfect our crafts, with all these different styles and techniques.
“Our piece is about why we started dancing in the first place.
“She was a young girl, born in Trinidad who migrated to Miami, with her dad DJ-ing and I grew up in Houston, Texas with hip hop, r’n’b, house music and soul.
Phoenix Dance Company members perform Suite Release – image by Drew Forsyth
“I danced at the barbecues with my family and that’s where the moving started.
“So Suite Release is a big party.
“It allows the dancers to break free from all expectations.
“They know it’s on stage, but they have to dance like there’s nobody watching.
“Collaborating was really great, actually and I will admit I was a bit nervous.
“I hoped it wouldn’t ruin a friendship, but many of our ideas just pinged off each other.
“We do have our own singular ways of approaching our practice as creators, but we have a common goal.
“It was nice to be in the studio and work in that way.
“One of the other really lovely things was that the dancers in the company got to see me in a different light.
“We work and play hard in the studio, and so we always have openness.
“Having someone come from my beginnings into the space allowed them to see young Marcus hanging out with a friend, which then opened them up and made them more ready to go.
“It’s amazing and the four dancers have really held that essence throughout the tour we’ve taken Interplay on.
“It’s also been an experience that’s made me want to collaborate more.
“Even now I’m tapping into colleagues and friends that are trying to be involved in the more dramaturgical side of things.
“I feel I’ve opened up a whole new layer on how we, as a company, can collaborate too – we know how to bring creative people into the room, but what happens when we start producing?”
Small Talk by Pett Clausen Knight – image by Drew Forsyth
key details: Interplay
Interplay is set to run at Sadler’s Wells East for four performances from June 24-27, 2026.
Shows start at 7.30pm and last an hour and 50 minutes including an interval. Tickets start at £15.
Regeneration was very much the word when the Canary Wharf project was starting out.
But 35 years after One Canada Square was officially opened, it’s renewal and evolution that are everywhere.
Quietly, across the estate, structures that have stood for most of the last three decades have been refurbished and improved.
Some have been less obvious – 25 Cabot Square and One Cabot Square don’t look all that different from the outside but have enjoyed internal improvements.
Similarly, Citi’s £1billion refit of 25 Canada Square is also largely an internal affair that won’t massively alter the skyline.
But that’s not the only approach.
30 South Colonnade, once home to Reuters, has been transformed into YY London with glass and metal preferred as a much more open facade to the dated white marble cladding.
This striking glow-up was enough to attract Revolut as anchor tenant with Deutsche Bank and Until as neighbours.
25 North Colonnade has also had a polish, a rebrand as Cargo and may soon be back on the market for £250million having been fully let by owner Blackstone.
Canary Wharf Group itself is currently consulting on plans for a radical overhaul of 8 Canada Square, currently occupied by HSBC and possibly in line for a new life as a mixed use scheme with chunks carved out of its upper levels.
Canary Wharf Group development manager Sarah Moss is part of the team working on One Eden – image by Jon Massey / Wharf Life
a new identity: One Eden
But perhaps the poster-child for the estate’s latest rebirth – a process that’s clearly playing a part in the rush of companies relocating to or within the Wharf – should be One Eden.
Located right opposite YY London, there are plans to take 33 Canada Square, originally part of Citi’s cluster, and give the structure its own identity at the head of Eden Dock.
The reason for this is that Canary Wharf Group’s approach to urban renewal schemes of this kind is significantly more complex than simply getting out the paint pots and laying some new carpet.
To find out more, Wharf Life sat down with development manager Sarah Moss, part of the team working on One Eden.
“With this kind of project, it’s about looking at an existing building with really brilliant bones and asking how we can transform it into a sustainable office space suitable for companies to use today and in the future,” she said.
“It’s my job, day-to-day, to deal with the architecture, that sustainability mission and to engage with occupiers so we can bring all these things together and make a really great product for our stakeholders.
“At present, Citi staff are using the building as they prepare to move into the tower next door when it’s refurbished so we’re gearing up to redevelop One Eden so a new occupier can move straight in.
“With schemes like this, it’s always a decision to be made – do you let the building as-is, do you do a light refurbishment or a major reinvention?
“We’ve looked at the market, at Canary Wharf and what we want this asset to be. It’s right in the middle of the estate and has such great potential to be a better class of building.
“Responding to occupier demand, we think we can deliver something really great for our customers.
“Our conclusion is that it’s a really well-structured building that can be made more sustainable.”
energy and regeneration
Originally from Australia, Sarah has spent the last eight years working in development in various roles for Lendlease, which brought her to the UK in 2022.
She joined Canary Wharf Group after a spell at British Land about seven months ago.
“Britain has these incredible regeneration projects and to be involved in them as part of my career was a real drive for me to come here,” she said.
“Canary Wharf was always somewhere we looked at when I was studying and working in Australia and I love the vibrancy of London.
“There’s always something to do and the drive to get things done.
“Everyone seems really engaged and excited to do things whether that’s working on projects like this or their social lives.
“I love the energy that the city brings.”
It’s not too much of a stretch to say that Canary Wharf Group’s plans for One Eden are squarely aimed at bringing fresh energy into the building.
Sarah said: “One of the really innovative features that we’re intending to bring to the tower is opening up an entrance on its lower level – so it’s right there when you emerge from the Jubilee line.
“It should really help the building come alive, creating new connections and allowing people to walk through.
“One of the things about the building is that it’s so well situated and we’re looking at including three retail spaces in the face of the building.
“That activation of the ground floor will be great – we know our occupiers value the friendliness it brings to a building and we want their staff and clients to feel that as well as making the spaces more permeable.”
retain and reuse
In addition to the changes on the lower levels, the plans include an extra floor with a pavilion structure and terrace, capping off the existing tower.
Sarah said: “We’re also looking at making the building a really functional space with end-of-trip facilities such as showers and bike storage for commuters coming in.
One of the most important things is that we’re modernising the structure in a sustainable way, re-using 97% of the substructure and superstructure.”
The plans would see One Eden become fully electric, with 62,000 tonnes of existing concrete retained in the structure and 47% less carbon produced in construction when compared with a new-build.
The project is targeting BREEAM Outstanding certification and will include 25,575sq ft of internal balconies and terraces laced with greenery as well as 19,644sq ft of outdoor terrace space.
Overall, One Eden comprises 545,000sq ft of workspace.
future-proofing the project
Making a space for workers of the future is also an opportunity to keep an eye on the future.
Undertaking this project has meant Canary Wharf Group delving into its paper archives to understand the existing structure so, as part of the renewal, much better records of the scheme will be created to aid similar refits in the decades to come.
Sarah said: “While the existing materials we have are excellent, we’ve been taking this opportunity to implement a really structured system of building information management.
“Everything is now 3D-modelled and tracked so we know we have really accurate information about what’s been built so that if people want to change part of the structure they will have those details instead of having to undertake fresh investigations.
“One of the questions we ask ourselves on projects like this is how we make these buildings last longer.
“What we hope is that, by collecting this information comprehensively, it will make it easier to redesign and refit in future.”
Following the successful completion of a mammoth project to extend Excel London by 25%, the venue is enjoying something of a purple patch as it attracts new shows and ever-increasing numbers of visitors.
“Everything we do needs to be looked at through the lens of how we get to be the best event destination in the world,” said Jeremy Rees, who joined Excel in 2010 as sales director and took over as CEO in 2017.
“That comes from standards and values, but also from investment.
“It’s something we will strive to achieve every single time we improve something.
“For example: ‘Is our Wi-fi and 5G technology equal to what the best event destination in the world would offer?’.
“I would say today the answer is no, it needs to improve.
“We’ve assessed what it should be and have invested many millions of pounds, which means in a few months our new system will be up and running.
“When that happens, we will be the world’s most technologically-enabled event destination.
“We’re taking this approach across Excel.
“Our extension is world class and we’ve invested a lot in Immerse LDN, but we’ve also addressed a wide range of things in areas visitors don’t always see.
“We want to make it as easy as possible for our customers to have as good an experience as they can, so we’ve been improving the wider infrastructure behind the scenes and the visitor facilities to help achieve that.
“Every week we fixate on how we can make marginal changes to the inside and the outside of our buildings to make them as good as they can be.
“It’s also about being open to feedback and, in the events business, we’re lucky because we constantly get that from visitors and organisers.
“Then we have a framework in place for our teams to think about how we can respond to an issue and in what time scale.
“It might be something we need to plan ahead for, perhaps one, two or three years in the future, but what we have is a constant programme of change and development that asks how we can do things better.
“Expectations are constantly rising and we need to always be thinking about how we rise to meet them.”
Hyrox London has grown to see more than 40,000 competitors take part – image supplied by Excel London
shifting the dial
This process of consistent, iterative improvement – never standing still – is perhaps why the venue is busier than ever, recently attracting 250,000 visitors over just seven days from April 19-26, 2026.
Despite much of the capital slowed by a Tube strike, the east London venue hosted 10 events in the period, with the Elizabeth Line unaffected and playing a solid part in helping the exhibition centre record one of its busiest weeks since the 2012 Olympics.
Around 40,000 of those visitors travelled to Excel to collect their registrations for the 2026 London Marathon, with the venue noting that sport and fitness are playing an increasing role in its success.
“It’s an important part of what we do – it’s a sector that’s passion-led, tribal and one that reflects society,” said Jeremy.
“People are thinking more carefully about what they eat and how they look after their bodies and their minds.
“Two or three years ago brands like Hyrox were on their journey to growth.
“Now it’s gobsmackingly astonishing that last year more than 40,000 people took part in Hyrox London at Excel and this year more people will be doing it here than running the marathon.
“It’s a triumph, an event where people at any level can take part and compete for themselves while improving their fitness.”
Hyrox, which sees participants take on a succession of exercise challenges interspersed with 1k runs, held its first event at Excel in 2021 with 650 contestants.
Now hosting events across the globe, the brand has achieved enormous success and its 2026 edition – scheduled for December 5 and 6, 2026, in east London – will also feature Youngstars, its contest for those aged eight to 15.
Formula E returns to the venue this summer – image supplied by Excel London
a destination for competition
“That’s been one extreme, but sports and fitness in a broader sense have long been important for us,” said Jeremy.
“We’ve been hosting the London T100 Triathlon in various forms for 25 years and last year that saw around 6,000 athletes taking part and 25,000 fans attending the event.
“Formula-E has also been astonishing and will return this August.
“Technically it’s a great show and it’s been amazing to have cars break the indoor land speed record while racing through our building.”
On a wider point, Jeremy said it was Excel’s flexibility – the ability to become a race track while also having the likes of Gym Race, Turf Games, ATHX, Nike’s After Dark Tour and the London International Horse Show on its calendar – that was most attractive to organisers.
“This place is a global trade hub, a centre for ideas – somewhere people want to come to listen and learn,” he said. “Then they take those ideas away with them all around the world.
“I’ve been pleasantly surprised by how much of an impact our extension has had – building a space organisers were asking for has seen them vote with their feet in the corporate market it was designed to serve.
“Large-scale technology events that once booked one year in advance are now booking three or even five years ahead because they know that our space fulfils their requirements.
“They’ve seen the results and they know there’s going to be even greater demand for it in the future.
“There’s also a real benefit for shows when they become associated with a venue – events such as the World Travel Market, for example.
“For those top tier brands, Excel offers an established ecosystem and the Elizabeth Line enables visitors to access that.
“Take Canary Wharf, for example, which is now three minutes away and has such an amazing selection of bars, restaurants and facilities.
“It’s that quality that is helping us attract these events to London.”
Excel London hosts the London International Horse Show, which is set to return to the venue from December 7-21, 2026 – image supplied by Excel London
Based on the 1972 film of the same name, which starred reggae legend Jimmy Cliff in the lead role of Ivan, the show is a story of poverty, music, love, religion and crime.
The Harder They Come features classic reggae hits from Cliff, Desmond Dekker and Toots And The Maytals and has been adapted for the stage by Tony and Pulitzer Prize-winning writer Suzan-Lori Parks who also wrote new songs for the piece.
For the latest production, Natey Jones returns as Ivan alongside Madeline Charlemagne as Elsa, with Chanice Alexander-Burnett taking over that role from June 8, 2026.
The story follows an aspiring singer who arrives in Kingston, Jamaica, determined to live out his dreams on his own terms and make it as a music superstar.
After cutting a record deal with a manipulative music mogul, he learns that the game is rigged and becomes increasingly defiant.
As his star rises, he finds himself topping the charts and the most-wanted list of criminals.
This show transports audiences to 1970’s Jamaica and asks what the cost of fighting against systemic injustice really is?
Natey and Madeline Charlemagne are both returning for the latest run – image by Danny Kaan
a hit comes back
“As the DJ says in The Harder They Come: ‘It’s a hit because you people made it a hit’ – and it turns out that isn’t just a line in a play, it’s exactly what happened at Stratford East,” said director Matthew Xia.
“Coming back now feels like a celebration of Jimmy Cliff’s legacy and of the audiences who showed up and claimed this story.
“I’m thrilled and as proud as rum punch that The Harder They Come is returning, just as big, bold, and revolutionary as before.
“There’s something rare about bringing a show like this back to the building where it belongs.
“This is a piece that lives in the exchange between the stage and audience – a summer reggae party driven by Cliff’s music, the energy of this fantastic company and the people in the room with us each night.”
Audiences can expect top quality reggae including Cliff’s timeless hits You Can Get It If You Really Want, Rebel In Me and Many Rivers To Cross.
Tickets for the show are already selling quickly – image by Danny Kaan
key details: The Harder They Come
The Harder They Come is set to run at Stratford East from May 16 to July 4, 2026, with performances times varying depending on the day.
Tickets range from £10 to £53.50 and are on sale now.
A festival of health is set to nurture the minds and bodies of workers, residents and visitors to Canary Wharf.
Wharf Wellness returns to the estate in June with a packed programme designed to showcase the breadth and depth of what’s on offer locally.
Taking in sports, fitness, recovery, beauty and nutrition, the festival offers Wharfers the chance to engage with the likes of Third Space, Barry’s, Arc, Padium and many more.
Early booking is advised and, to help you plan your diaries, we’re listing the more than 20 events and pop-ups already announced in full.
Padium will be hosting both social and beginner events as part of Wharf Wellness – image supplied by Canary Wharf Group
the 2026 wharf wellness programme
Roof Garden Pilates – £25
THE ISLAND STUDIO, June 3, 8am, Crossrail Place Roof Garden
Join the Wood Wharf-based studio for a pop-up class in the leafy surroundings of the Crossrail station’s rooftop park for a chance to move, stretch and reset. Suitable for all levels.
Win A Mini Facial – Pop-Up
WEATHER + PALETTE, June 3-4, Canada Place
Visit this pop-up and play for a chance to win a range of prizes including a Mini Facial, 20% off facial treatments, samples and more from the Jubilee Place store.
Run Club – FREE
TRIBE LONDON CANARY WHARF, June 4, 11, 18, 25, 6pm, 15 Water Street
Taking place every Thursday in June during Wharf Wellness, Tribe London Canary Wharf will be hosting a free Run Club. The guided 5k leaves from the hotel’s main reception with finishers receiving a protein bar and vitamin drink to help them refuel. Places can be booked in person at the hotel or via DM on Instagram to @tribe_londoncanarywharf
After Dark – £20
ARC, June 5, 7pm, Crossrail Place
Promising a “more social, high-energy” way to experience contrast therapy through music, this session allows participants to move between the heat of the sauna and the chill of its cold plunges at their own rhythm in a community atmosphere.
Big Club Social – £20
PADIUM, June 6, 20, 9am, Bank Street Park
Meet other padel enthusiasts in a fun, social setting where players take on a series of 15-minute matches, moving up or down a court based on wins and losses. There are two dates to choose from over the month.
Reformer Taster Sessions – FREE
FREEDOM CLINICS, June 8-12, 9am, Canada Place
Treat yourself to a free Reformer Pilates class, open to all levels. Those booking should select One Pilates Class Pass and then enter code WHARFWELLNESS when reserving to reduce the cost to £0 for the 9am sessions. These will likely sell out fast.
Intro To Padel – £20
PADIUM, June 8, 22, 5pm, Bank Street Park
These early evening classes have been designed for first-timers with the aim of helping participants learn all the fundamental rules, techniques and strategies to allow them to play padel tennis. All equipment is provided.
Atis Moves Run Club – £6.50
ATIS, June 9, 6.15pm, Canada Place
Enjoy a 5k around Canary Wharf followed by a bowl from the salad chain. Runners should arrive in their kit with filled bottles ready for a 6.30pm start. Spaces are limited so book early.
Swing Social – FREE
PITCH WHARF, June 10, 6pm-9pm, 30 Churchill Place
Sip low and no alcohol drinks and indulge in a bit of active wellness at the golf simulator venue. Those attending can expect Nearest The Pin challenges, pro-led swing clinics and plenty of virtual holes. Admission is free, but online registration is required.
A Moment Of Hygge – FREE
SØSTRENE GRENE X OLE & STEEN, June 9, 10, 11, Jubilee Place
Søstrene Grene and Ole & Steen are set to collaborate on a series of bookable one-hour workshops where participants can create personalised memory jars, paint and decorate flower pots or design and embellish candles. Each session includes Danish refreshments and pastries.
In2Sports at Wood Wharf will be running Let’s Get Moving events – image supplied by Canary Wharf
scroll down for more Wharf Wellness highlights
Mat Pilates – £5
THIRD SPACE, June 10, 17, 24, 7.30am, Eden Dock
Join these intimate morning classes to explore the discipline in a slower format with a strong focus on proper alignment and posture. What a way to start the day. Book early.
Health Optimisation – Pop-Up
LE CHALET CRYO, June 10, 11, Canada Place
Find out about whole-body Cryotherapy and Hyperbaric Oxygen Therapy and get the chance to win a free session.
Let’s Get Moving – FREE
IN2SPORTS, June 12, 19, noon-4.30pm, 40 Harbord Square
These community-focused events are aimed at promoting active and connected lifestyles with participants getting access to a range of sports during each session. Tickets need to be booked online.
First-Timer Class – FREE
BARRY’S, June 13, 3pm, Crossrail Place
Experience the delights and challenges of the red room with a session exclusively open to first-timers. Expect high-energy interval training making full use of the treadmills and gym equipment.
No experience is needed for this session, which will feature the brand’s signature combo of pumping beats, positive vibes and supportive coaching.
Outdoor Class – £15
BARRY’S, June 16, noon, Canada Square Park
Enjoy a special pop-up class in the sunshine with Barry’s trainers who promise to get you moving and sweating with a full body workout in the open air. Expect to burn up to 1,000 calories with plenty of upbeat encouragement.
Wellness Week – £10
SPACE NK, June 21-27, Cabot Place
Book a slot and pop into the beauty store for a 15-minute makeover. Refresh your look and get plenty of advice from the brand’s beauty advisors. The £10 is redeemable against purchases.
Wharf Wellness – Pop-Up
YUMMZY, June 25, Canada Place
Enjoy complimentary tastings and exclusive offers as the vegan, gluten-free, sugar-free eatery brings its products to the heart of the Wharf.
Contrast + Journalling – £20
ARC, June 28, Crossrail Place
With timings yet to be announced, this slower session features guided contrast therapy in the venue’s sauna and ice baths as well as breathwork and journalling to help participants reconnect with what they’re processing and what might need to shift. Bookings open May 28.
Friday Night Lights is set to team up with Third Space – image supplied by Canary Wharf Group
check out these Wharf Wellness highlights
Friday Night Lights x Third Space
FRIDAY NIGHT LATES + THIRD SPACE, June 24, from 6pm, Canada Square Park
Canada Square Park is set to be transformed into a space for outdoor fitness on June 24. From 6pm-9pm, Friday Night Lights and Third Space will be running a programme of classes aimed at everyone from seasoned gym-goers to complete beginners.
First up is Yoga at 6pm, with participants guided to move from one pose to another in tune with their breath. At 7pm it’s Pilates on the mat with trainers on hand to ensure proper posture and solid alignment.
Finally, at 8pm, it’s Bodyweight HIIT, featuring a mixture of plyometric, multidimensional, sport-based exercises to help develop stability, muscular endurance and overall fitness.
Each class costs £5 and bookings are open now. Friday Night Lights is also the organisation behind popular 5k event Run The Wharf, which returns to the estate in September.
Former Olympic swimmer Katy Sexton will be hosting two sessions at Sea Lanes Canary Wharf
Swim With An Olympian
SEA LANES CANARY WHARF, June 25, 5.30pm, 6.30pm, Eden Dock
Olympic swimmer and former world champion, Katy Sexton, will be on hand to deliver two guided open water coaching sessions at Sea Lanes Canary Wharf in Eden Dock on June 25.
Running at 5.30pm and 6.30pm, the sessions will see swimmers work on “pacing, positioning and efficiency in a relaxed, supportive environment” guided by lane coaches.
Designed for swimmers looking to build confidence and refine their technique in open water, the structured sessions are an opportunity to learn from one of the sport’s most accomplished swimmers. Tickets for the classes cost £15 and must be pre-booked online.
Sea Lanes Canary Wharf is a new floating lido, sauna and events complex that’s set to open in June in Eden Dock. Founder memberships are now available for £75 per month over a year. Individual swim sessions will cost £10.
Canary Wharf has a new store, although readers might well be forgiven for missing the change.
What were once the upper levels of Waitrose Food And Home in Canada Square have been rebranded and now operate distinctly as the estate’s branch of John Lewis.
The retail spaces remain connected, of course, both physically by escalators and in business under the umbrella of the John Lewis Partnership.
However, with a changing customer profile as the Wharf continues to evolve, it was felt the time was right for new signs and a dedicated leadership team to take over.
Helen Chalkley has been named as the store’s first branch manager and is thrilled to tackle the challenge of more firmly establishing the brand in Wharfers’ minds having taken up her post in February.
Similar to her Waitrose counterpart, Amy Stickland, she’s spent her whole career in the business and returns to Canary Wharf following an earlier spell as deputy branch manager at the east London store when it was all Waitrose Food And Home.
John Lewis Canary Wharf branch manager, Helen Chalkley – image by Jon Massey / Wharf Life
from Oxford Street to Canary Wharf
“In July I’ll have worked for John Lewis for 33 years, having started off as a part-time partner in the Oxford Street branch,” said Helen.
“My mum used to work for the business, so there’s a family connection and I’ve always wanted to run my own shop.
“I’ve spent most of my time in Oxford Street and that’s where I managed my first department, which was children’s wear.
“I’ve also worked at Bluewater, in Enfield and at head office, which I loved.
“But it’s super exciting to come back to Canary Wharf, especially as it has now become a John Lewis.
“The change unlocks so many things for us and that means our customers here will be getting the very best the brand has to offer.”
The new signs are up and incremental changes are being made, with outdoor furniture now on the shop floor, for example.
The store now features outdoor furniture for the first time – image by Jon Massey / Wharf Life
a renewed focus on John Lewis Canary Wharf
“Many of the changes are behind the scenes, with the introduction of systems that we didn’t have before that will make us more efficient,” said Helen.
“The change should make the customer journey here better.
“Also, having a dedicated branch manager means a clear focus on what we offer and how we operate – I bring a ton of retail and commercial experience to help support the opportunity here.
“That’s the same for Waitrose too, although we will continue to work together.
“I think it’s very powerful that customers can see there’s a John Lewis here and that will help drive footfall for us.
“It’s a beautiful shop – it’s got something for everyone – and it’s one our partners can be really proud of.
“One of the reasons for the separation is that we’ve seen a lot of change in Canary Wharf over the last five years.
“There are more families living on the estate and in the surrounding area, for example, and we’re seeing those customers coming in regularly.
“We used, very much, to be a commuter store but that’s not so much the case anymore although we still have a strong focus on gifts so it’s vital we have the right brands and products for the people coming in.
“We know what the data tells us and we know what our customers are asking for so we can hopefully ensure that’s the case.
“I’ve got a real hunger for driving delight in our customers and always keeping them at the heart of everything we do.”
In some senses, running John Lewis Canary Wharf is a similar balancing act to the wider estate, with workers, residents and visitors to the area, all coming with different needs and desires.
Lego on sale in Canary Wharf – image by Jon Massey / Wharf Life
different things for different people
Helen said: “It’s a real mix. Some customers are shopping intentionally for a particular product while others are browsing as a leisure activity.
“Technology, including our Apple range does really well here, as does Lego.
“But then you might have a customer who’s come in at lunchtime because they’re going out that evening and they’re looking for an outfit.
“We now have Topshop in store, which is a really positive arrival for us and we’ve also introduced Aubin in our menswear department, which is a really exciting brand.
“We’re making lots of small changes, such as our new Apple table on the top floor to showcase the brand’s products and there will be more of those to come.”
The decoupling also allows Helen to assert the shop’s identity and values more succinctly.
She said: “I feel really privileged to be this store’s first branch manager and I think that’s about making sure the partners here are living and breathing John Lewis and proud to be wearing the badge.
“Some of the changes we’ve made with our systems should make their lives easier and that will be reflected in how we serve our customers and communicate the value we offer.
“This area isn’t like any other – I always think I work in New York when I’m here.
“There are tons of opportunities for us here and I want us to make the most of them.
“It’s about ensuring we understand what the Canary Wharf customer wants.
“The world of retail is constantly changing, but many of the basics remain the same.
“We want the shop to be well presented and for the customers who come to us for inspiration to find it in our spaces.
“Shopping should be fun and that’s something our partners can get really excited about delivering. For me, working in this sector is as thrilling now as it was 30 years ago.
“One of the things we’ll be doing is continuing our programme of in-store events.
“We have a mother and baby music group and we’ve just hosted a liquorice tasting.
“Activating our spaces in this way is a great way to bring people into the store to enjoy themselves and perhaps discover products they might not have known about otherwise.
“It draws people in with a bit of retail theatre and you see different groups coming here, discovering what we have to offer and then connecting with one another.”
Part of the store’s extensive fashion department – image by Jon Massey / Wharf Life
key details: John Lewis Canary Wharf
John Lewis Canary Wharf in Canada Square is open Monday-Saturday from 9am-9pm and from 11.45am-6pm on Sundays.
Friday, April 17, 2026, saw the return of regular comedy to The Space theatre in Westferry Road – the first in a new series of monthly gigs that are set to pull in a series of potent line-ups to the Isle Of Dogs venue.
Shenanigans In (The) Space is the creation of producer, writer, promoter and sometime comic, Scott Fitzgerald, (who’s booking the acts) and regular MC Matt Price.
“I first came to The Space to see As You Like It, hosted by Sir Ian Mckellen [performed by all trans and non-binary theatre group Trans What You Will],” said Scott.
“I loved the whole ethos of the venue – a small theatre that doesn’t receive any funding or regular support.
“I met Matty Jameson, the artistic director, who’s a superstar in my eyes – all drive and responsibility, but smiling all the way through it like a beautiful robot.
“Then I met the board members and explained about my background – promoting comedy and performing – and what I thought we could do here.”
Shenanigans is hosted at The Space on the Isle Of Dogs – image by Jon Massey / Wharf Life
hosting Shenanigans At (The) Space
The result is a series of shows hosted by Matt, each featuring three stand-ups with headline spots from the likes of Sam Nicoresti (who won Best Show at the Edinburgh Festival in 2025), Craig Campbell, Marty Gleeson, Dan Tiernan and comic rap powerhouse Doc Brown.
“We’re able to get people of this level because most comedians want to support something,” said Scott.
“I contact them, tell them the story of the venue, why the fee is what it is and appeal to their human side.
“Many acts remember why they started in comedy, that first big laugh and the place they found their voice.
“We want to build that kind of community here with established comedians and those coming through.
“It also helps that a lot of people know Matt.
“He’s one of the best compères in the country and when they know he’s the MC, they’ll come and do the gig.”
The pair first met at an open mic night in 2003.
Scott had fallen out of a career as a window cleaner and into one as a theatre technician, before taking his own steps into stand-up.
Matt had stumbled into comedy having briefly boxed and then taken up writing about the sport.
Together they ran the Yellow Kangaroo Comedy Club in Cardiff and have remained friends ever since.
Scott is promoting the night and booking the comics – image by Jon Massey / Wharf Life
forged in a friendship
“I have memories of two speakers exploding on stage and Scott coming to sort them out,” said Matt.
“We became friends and I was deluded enough to carry on as a performer.
“I’d had a few fights as an amateur boxer, but I wasn’t very good and then I spent a couple of years trying to write a book about boxing before I fell into comedy and realised it’s the same thing as being in the ring, but without the punches.
“One wonderful comedian said that stand-up comedy is the most violent, non-contact sport in the world and I know what he means.
“There’s a saying in boxing: ‘It’s not why you start, it’s why you stay’.
“I started it because I was a failed boxing writer, and I stayed because, thankfully, I don’t take myself too seriously and I just genuinely love being a comedian.”
Having performed in 30 countries including Russia, Cambodia and “even Penzance” Matt said he was relishing the prospect of performing at The Space.
“I’ve been around a bit,” he said.
“One highlight was standing on a piece of wood on top of a former gangland criminal’s house, performing to south-east London’s criminal underworld.
“I looked at a man with a tattooed face who asked me not to talk to him.
“He’d just robbed a post office, but couldn’t stand being spoken to in public.
“Another was accidentally setting myself on fire at the Edinburgh Festival – I just walked backwards into a candle.
“People asked if I’d done it on purpose so I just said: ‘Yes’. I’ve learned to take a compliment.
“The Space already feels very special and I’m really enjoying working with Scott again.
“There’s something about supporting a local community and trying to build a night that people really like.
“There’s no pressure on acts here – we’re not going to say they’ve got to stick to every second as you do in more commercial clubs.
“It will be somewhere acts can come and experiment a bit.”
Matt has performed in more than 30 countries and is Shenanigans In (The) Space’s resident MC – image by Jon Massey / Wharf Life
building something on the Isle Of Dogs
Talking with the duo, there’s a sense both of them are quietly revelling in the process of putting the gigs together – a feeling that they’re at the start of something.
Scott had stepped away from comedy for a number of years, with this bigger goal tempting him to return.
“Not much would have got me back into it – it’s hard work and you can’t please everybody,” he said.
“But this venue should have more people in it – it’s that larger idea that makes me want to put myself through it again.”
The first Shenanigans saw Shaparak Khorsandi headline with sets from Don Biswas and Ciara O’Connor.
The next date – May 22, 2026 – is set to feature ventriloquist Lachlan Werner and softly spoken Welsh comic Morgan Rees.
“The night will be headlined by prop comic Spencer Jones who performs on stage as Clunkerdunk,” said Scott.
Best known for his recurring role as Mr Winner in BBC Shakespearean sitcom Upstart Crow, audiences can expect new material amid the unpredictability of live performance.
“Anything can happen,” said Scott.
“That’s the excitement of it – it’s still thrilling to us after all these years. You just never quite know what you’ll see.
“That’s why Matt is so good – he’s skilled at making almost anything funny and connecting with the audience.
Matt added: “There was one time I was being heckled by a drunk woman in the front row, who just wouldn’t give up, so I walked to the back of the room and got everyone to turn their chairs round, putting her at the back.
“She was very angry, stormed out and slammed the door.
“Some of the audience barricaded the door behind her – you learn how to play a room.
“In between jokes, you could hear her complaining to the manager.”
key details: Shenanigans In (The) Space
Shenanigans In (The) Space is set for a run of monthly performances at the Isle Of Dogs venue.
Storehouse, located at Here East, has been a resounding success, welcoming 600,000 visitors through its doors since it opened last year, despite being somewhat tucked away amid the fabulous sprawl of the Queen Elizabeth Olympic Park.
The new museum sits on one end of East Bank beside the London College Of Fashion, the new BBC Music Studios and Sadler’s Wells East.
Its opening is a key part of the 2012 Games’ cultural legacy.
Just like the South Bank, these buildings are statements of intent, powerhouses for the arts rising proudly above Waterworks River with the V&A’s golden geometric concrete arguably the most visually striking.
But for Gus, it’s the flow of young minds in and out of its doors that he and the team care most about, the museum’s connection to the community.
Gus Casely-Hayford, director of V&A East – image by Jon Massey / Wharf Life
becoming the ladder
“East London is the place that gives us Alexander McQueen, David Bailey and so many other creators who had to struggle and fight in their fledgling careers to get their feet on the first rung of the ladder,” he said.
“For all those future makers and artists, we want to be there as that ladder.
“It shouldn’t just be middle class kids who have an uncle who works in film or an aunt who runs a gallery that succeed.
“It’s wonderful they have those opportunities, of course, but how do we ensure that those without those advantages in east London can get purchase on careers in the creative industries?
“I’m proud of the sense of possibility we’ve created here.”
Over simplifying, if Storehouse is a place to hold, look after and offer access to the 280,000 objects in the V&A family, chronicling some 5,000 years of human creativity, V&A East Museum is a place to show them off in tightly curated, thought-provoking ways.
To that end, it features two permanent Why We Make galleries, packed with treasures that are free to view.
There’s also an exhibition space, currently occupied by The Music Is Black: A British Story, which aims to illuminate 125 years of black British music via exhibits, stories and sound.
On its fifth floor there’s a terrace and another free exhibition, Dispersal, which captures the businesses that called this part of London home before the Olympics.
Then, on its lowest level, there’s Café Jikoni, a partnership with a restaurant group known for “cooking across borders”.
Even on press day it’s easy to see how these spaces will quickly fill with visitors, thanks in part to a programme of free live events, including a takeover by DJ Nia Archives, workshops and talks.
Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries – image by V&A East Museum
V&A East Museum – built for the community
“When I came into my role, it was at the time of the pandemic and we built a team and an idea through remote working,” said Gus.
“Part of that was informed by that period, but we wanted to create connectivity – an institution able to connect with the community.
“As soon as we were able, we got out there to see those communities, to talk to them and ask them what they wanted at the V&A East museum.
“They were really keen to tell us.
“I loved it because I got to visit more than 100 schools within a bus ride, speaking in assemblies and asking them what we should offer.
“Listening to them, many of those young people were frustrated.
“They aspired to work in the creative industries but had little or no understanding of how they might do it.
“We saw that there was a desperate need for institutions like V&A East and for young people to get engaged with them.
“So we worked with them – more than 30,000 people consulted on every area of operational and curatorial delivery.
“I hope this is an institution that reflects their aspirations, hopes and dreams and that visitors will see that as they walk through these spaces.
“Our permanent galleries are called Why We Make because we thought making was a theme that would really speak to young people.”
Robes worn by a Daoist priest – image by V&A East Museum
respecting the residents
“Everything here has been part of us demonstrating our respect for this place and its populations,” added Gus.
“I can’t wait to see people come streaming through these doors and absolutely fall in love with this space.
“It’s a different kind of museum, which I hope will appeal to a different kind of audience.
“The building is extraordinary. Architects O’Donnell + Tuomey have created a kind of multi-faceted jewel with gold-faced concrete and it’s absolutely exquisite.
“Inside, it has these astonishing geometric windows, which mean that almost anywhere you are, you can see out across the Olympic Park that surrounds us.
“You get a real sense of where you are when you’re inside.
“They also created circulation spaces where you can come in the entrance on the lower ground floor and walk all the way up the five floors above without encountering a door.
“We are living in societies which can feel very fractured.
“We’re located next to one of the biggest shopping centres in Europe and I hope we’ll become a place of gathering.
“Shops are wonderful, but they aren’t places of civic convening.
“We want this to be a place where particularly young people can come, hang out, learn things, but they can also be inspired.
“It’s a wonderful privilege to be the inaugural director of V&A East – it’s probably the best job in the cultural sector.
“My hope is that, as time goes on, it will also be a place where they don’t just find opportunities to remake themselves, but also to remake V&A East.”
This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland – image by V&A East Museum
key details: V&A East Museum
V&A East Museum is located at East Bank on the edge of the Queen Elizabeth Olympic Park.
Concessions for students and those under 26 are available.
Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum – image by Daniel Newman
tried + tested: V&A East Museum
Any way you cut the complex geometry of V&A East Museum, it’s a fantastic addition both to the Stratford skyline and Newham’s cultural heft.
What Gus says about the relentless focus on connecting its spaces to the local community finds its proof in the new institution’s galleries.
The Why We Make spaces are refreshing. Superficially incongruous treasures – everything from glacial stupas to healing chairs and Daoist robes – are sewn together with a golden thread of locality.
Walk into the lower of the two galleries and you’ll immediately be confronted by Molly Goddard’s hot fuscia Daria dress, an east London creation that features 61 metres of tulle and was once worn by Beyoncé.
I’m left with no choice but to knock off a star because (teething troubles) my radar-linked Sennheiser headphones provided for a stroll round The Music Is Black: A British Story, failed to function properly.
This left me with a loop of the intro melody, rather than the 120 tracks promised.
My guess is that given this exhibition is about music, it’s probably better when you get to hear it.
However, even without the gospel, soul, rap, r’n’b, blues, rock, folk and grime, it’s a collection worth viewing thanks to the variety and vibrancy of the exhibits.
Here too, thanks to kids from the Lansbury Estate, Dizzee Rascal, Billy Ocean and countless performers still gigging at the likes of Boisdale Of Canary Wharf, the east is ever present.
The glorious, crumbling walls of Wilton’s Music Hall are set to reverberate with the buzz and verve of Rendez-Vous Dance’s latest show.
The Monocle is a cabaret, dance homage to nightclub Le Monocle, a sanctuary for the lesbian community in Paris opened in the 1920s by Lulu De Montparnasse on the Boulevard Edgar-Quinet.
Billed as a “sizzling dance and music production”, the show has been created by the Rendez-Vous founder and artistic director, choreographer Mathieu Geffré.
Celebrating the history of the club – named for the optical affectations some lesbians used as a symbol of recognition in their community – The Monocle aims to transport audiences to an era of glamour, jazz, dressing up, dressing down, secret passions, sex and cocktails.
The company’s seven-strong cast tell stories of the venue’s clientele and their time spent in a place where they could dine, dance, sing and socialise without fear of persecution.
Rendez-Vous Dance founder and artistic director, Mathieu Geffré – image supplied by Rendez-Vous Dance
relevant and meaningful
“Over the years, Wilton’s Music Hall has built a reputation for celebrating diverse, boundary-pushing, excellent art,” said Mathieu.
“Bringing the final performances of The Monocle to Wilton’s Music Hall after a successful night at the same venue in 2024, feels deeply relevant and meaningful.
“There’s something about the venue’s layered, rich and slightly subversive history that resonates with the queerness of our production.
“After three tours and such a generous response from audiences across the country, it feels like the right place to bring this journey to a close – intimate, relevant, charged and full of memory.”
Lasting 90 minutes, including an interval, the show features a mix of sensual choreography, passionate drama and live song from early-jazz performer, Imogen Banks.
“The beauty of The Monocle is how effortlessly it has welcomed a broad and diverse audience,” said Mathieu, who graduated from the Paris Conservatoire in 2006 before embarking on a career as a dancer across Europe.
He founded Rendez-Vous in 2021 with the aim of engaging with LGBTQIA+ themes.
He said: “While the show offers a strong sense of entertainment, it also carries an educational and quietly political weight, particularly in drawing attention to the disappearance of safe spaces within our community.
“One of the most moving parts of the tour has been meeting members of the lesbian community who shared how deeply the work resonated with them.
“Ultimately, this is a show for everyone. It’s entertaining, informative, political and a joyful celebration of identity.”
For Mathieu, it’s also a work that resonates with his interest in LGBTQIA+ history, especially in France.
The show is an homage to lesbian nightclub Le Monocle in Paris – image by Cave And Sky
the roots of The Monocle
“One of my ongoing curiosities in life is understanding my roots as a member of the queer community,” he said.
“In 2021, while reading A History of Homosexuality by Florence Tamagne, I first discovered Le Monocle.
“I wanted to challenge the conventional perceptions of contemporary dance and explore the intersection of cabaret and movement as a way to reach new audiences.
“The Brassaï photographs of Le Monocle became a way in for me, showing that a man could indeed capture the essence of this extraordinary space for the lesbian community in Paris.
“When developing a work, I also consider its universal and contemporary resonance and, in this case, it felt essential to acknowledge the disappearance of lesbian safe spaces in public life.
“As a gay boy growing up in the French countryside, coming of age was a vulnerable path.
“But that began to shift when I started my dance studies at the Conservatoire National Supérieur De Musique Et De Danse De Paris in 2001.
“The capital was a territory of fear, extravagance, and adventures.
“I emancipated myself in Le Marais, where I witnessed love lived unapologetically, drag artists fabulously striding through the streets and communities welcoming me into a freedom I hadn’t thought possible.
“I’m passionate about LGBTQIA+ history and my French heritage.
“When I learned about Le Monocle, a lesbian bar that mysteriously closed in June 1941 during the Nazi occupation, I couldn’t separate it from more recent tragedies.
“The story felt urgent, a necessary testimony about safe spaces and the risks we still face.
“I’ve never cared so deeply about getting something right. The Monocle was a unique opportunity to foster an environment where love transcends differences, creating a space where everyone feels seen, valued and embraced.
“When it was open, Le Monocle celebrated refinement, taste, and understated glamour.
“The costumes and set together capture that spirit, while subtle, playful details, like the iconic monocle itself, anchor the work in its historical and cultural context.
“The overall effect is immersive – audiences step into a space where elegance, celebration and queer history coexist, fully alive for the contemporary moment.”
The Monocle promises plenty of sizzle and thrill – image by Rhiannon Banks
key details: The Monocle
The Monocle is set to be performed at Wilton’s Music Hall in Wapping on May 15 at 7.30pm and on May 16 at 2.30pm and 7.30pm.
