Newham All Star Sports Academy (NASSA) is set to host its first networking and fundraising dinner – NASSA’s Next Generation – at Brick Lane Music Hall in Royal Docks this summer.
what is NASSA?
For 20 years the charity has been an engine of social mobility for young people in east London.
Engaging them through basketball, it supports their education and training, instilling discipline and ambition in some of the most deprived areas in the capital.
Its Carry A Basketball Not A Blade campaign has reached more than 100,000 young people, teaching them about the dangers of knife crime and working in partnership with the Metropolitan Police to tackle gang culture.
In short, NASSA saves young people’s lives and enriches them.
NASSA CEO and founder, Natasha Hart – image Matt Grayson
>>Natasha Hart MBE, NASSA CEO and founder, started the charity in 2005 after taking her two sons to a Newham park to teach them basketball.
Soon she was surrounded by young people keen to try the sport, which inspired the charity’s creation.
Natasha said: “Once you become part of the NASSA family, that’s for life.
“What started in 2005 as a way for young people to get outside and keep fit has grown into a bigger mission, working with the community to tackle violence and gang culture through sport and education.
“It’s incredibly moving to hear about the difference we’ve made in people’s lives. Now we want to reach even further.
“It’s amazing that we’re able to host this networking and fundraising dinner in our 20th year to help us continue that work.
“We’re so grateful for the support we’ve had over the years and would love you to join us on June 18, 2025.”
why NASSA’s Next Generation?
To continue in its work and expand its operations, NASSA needs to raise funds and is always looking for new organisations and individuals to partner with.
In celebration of its 20th anniversary, it has created an event aimed at bringing its supporters together with those who would like to get involved to network, to introduce the charity’s ongoing work to them and mark its achievements.
Networking and dinner will be followed by a show at Brick Lane Music Hall in Royal Docks
what will happen?
NASSA’s Next Generation is set to take place at Brick Lane Music Hall in Royal Docks on June 18, 2025, from 6pm-midnight.
The evening will start with a drinks reception with plenty of time for networking.
This will be followed by a three-course dinner and a music hall show, with further opportunity to socialise after the curtain falls.
who will be there?
The evening will be hosted by NASSA with support from the charity’s patron, Sir Stephen Timms MP, minister for social security and disability.
Excel London CEO, Jeremy Rees – image by Jon Massey
>>Excel London has long been a supporter of NASSA and its work.
CEO Jeremy Rees has brought local organisations together in an advisory capacity to help guide the charity as it continues to grow and develop, tackling some of the toughest issues in society.
Jeremy said: “What Natasha and the team have done over the course of two decades is incredible and deserves our attention and backing.
“This is an organisation that started with just £20 in its bank account and has now reached more than 100,000 young people.
“The NASSA’s Next Generation networking and fundraising dinner is all about how we can work together as businesses, organisations and individuals to help it continue these vital efforts and reach the next 100,000.
“The event will be a real celebration of NASSA – but we can’t do this alone.
“Support us on June 18 and we can do even more.”
The charity works to fight knife crime and gang culture through its Carry A Basketball Not A Blade campaign
how can I get involved?
Tickets to the event are now on public sale, priced at £220pp with all proceeds going to NASSA.
A small number of full tables (12 seats) and half tables, priced at £200pp are available too.
The tide has washed over the space set aside for major exhibitions at London Museum Docklands and left behind it a rich haul of finds, information and art.
Unveiled this month, Secrets Of The Thames is a hymn to the capital’s longest archaeological site – the river’s foreshore – and those who prowl the edges of the water in search of its treasures.
The exhibition, which runs until March next year, is a celebration and revelation of the long-observed practice of mudlarking – raking through stretches of land that are exposed as the tides reveal London’s beaches and mudflats twice a day.
To that end, curators have combined a vast array of finds with a recreation of the exposed riverbed, artworks and a technical window into how the museum works with the beachcombers to catalogue and preserve historic pieces rescued from the depths.
Today mudlarking is popular – it’s regulated by the Port Of London Authority, which issues 4,000 permits for enthusiasts each year.
It has suspended new applications at present due to a waiting list now exceeding 10,000.
But while 21st century archaeologists, artists and social media producers are driven to dig in the soggy stuff for a variety of lofty motivations, those who went before were often simply scratching a living.
The exhibition includes a recreation of the Thames foreshore for visitors to explore – image by London Museum
the story in the mud
“We tell the whole story from the earliest mudlarks who were first recorded in the 18th century” said Thomas Ardill, curator of paintings, prints and drawings at London Museum.
“It was probably going on long before that too.
“These people were just searching for useful things to sell – bits of coal and steel, for example.
“They were scavengers, sometimes children, sometimes women – but as they were finding useful objects, they were also digging up historical pieces.
“This was in a period when antiquarians were starting to get interested in London’s history and mudlarks found they could sell artefacts.
“In the exhibition we’re showcasing not just what objects were found, but also the people who found them.
“The earliest mudlarks were entrepreneurs, and they were creative and inspired by what they found.
“Some were conning the art world by creating fakes, but that also showed their creativity and ingenuity.
Thomas Ardill, curator of paintings, prints and drawings at London Museum – image by Jon Massey
“A lot of the mudlarks today are fantastic artists and it’s an exhibition that you see through their eyes.
“It’s about the joy of discovery as much as it is about the objects.
“About five years ago, we touched on mudlarking a bit and realised it had potential – Secrets Of The Thames has been a long time in the making.
“We’ve been working closely with Stuart Wyatt, London Museum’s finds liaison officer, whose job it is to record the finds made by mudlarks with permits.
“One of the things I really like in the exhibition is the finds desk. It reveals how we record objects and will feature rotating exhibits.
“At the moment, there’s an Italian ceramic water vessel, which is one of four or five discovered in a particular spot on the Thames over the years.
“There’s definitely something interesting going on in that location.
“Stuart thinks what might have happened is a box containing a shipment may have been broken and been dumped over the side of the ship that was carrying it.”
London Museum curator Kate Sumnall – image by London Museum
connecting to London’s history through Secrets Of The Thames
With brightly-lit cabinets full of deeply personal items – false teeth, rings, bones and even phallic fertility symbols – it’s also a chance for Londoners to get a sense of the city’s former inhabitants.
“We are lucky in London to have this amazing tidal river environment that has preserved so much of our past,” said London Museum curator Kate Sumnall.
“It is the longest archaeological site in the capital and here we find an unbelievably rich selection of finds, from beautifully worked prehistoric arrowheads to a small, ivory sundial used to tell the time.
“Thanks to the dedication and expertise of today’s mudlarks, we are constantly uncovering new objects that inform our understanding of history.
“Above all this exhibition is an exploration of love and desire, faith and loss, migration, community and culture – the stories of generations of people who have visited the city or called it home.”
With many mudlarks using their finds to create art, the museum has chosen to embrace their creativity and showcase their talents as part of the exhibition.
Printmaker, sculptor and artist Amy-Leigh Bird – image by Jon Massey
a mudlark’s tale
Amy-Leigh Bird is a printmaker, sculptor and artist who regularly scours the foreshore in search of inspiration and materials.
One of her pieces is included in Secrets Of The Thames.
She said: “I started mudlarking as a kid, inspired by going to see an exhibition by artist Richard Long at Tate Britain.
“There was a beautiful piece he’d made out of red bricks and so I went down onto the foreshore with my dad and made my own little piece there – that was my first work.
“Then I went to university and started collecting in the rivers in Glasgow, collecting ceramic and glass objects. I also found a gun.
“When I came to London, it just seemed instinctive to go mudlarking.
“At first I was just aimlessly collecting – stuff I was interested in, but that did include bones and teeth, and this grew more into my practice.
“Other mudlarks were looking for coins, pins, garnets and cameos – which are all beautiful and exciting – but I like objects that are uglier.
“We’re all made of bones and teeth come from the mouths of living, sentient beings.
“Animal bones and teeth in the river might have come from meat markets that would feed the people of that time.
“They link back to us, which is really beautiful.
“Coming from a small town, I find that London can be an assault on the senses – it’s relentless.
“When you go mudlarking, there is this wonderful moment, highlighted in the exhibition, when you leave the chaos and noise behind.
“Once you’re on the foreshore, the sounds are different.
“It’s the the waves lapping, the gravel beneath your feet. I end up being there for hours and the time just flies.
Amy-Leigh Bird’s Ancient Ruins 2020 – image by Jon Massey
“Finding something feels euphoric. It’s personal, it’s mine. I lost a lot of my childhood toys in a house move, which was sad.
“So when I find something mudlarking it’s a sign to me that the object has in some way chosen me, which is a beautiful experience.
“My favourite object in the exhibition is a neolithic bone.
“It’s such a simple object but it’s made me wonder how many of the bones I’ve picked up for my collection are neolithic.
“I originally started making work by finding things and making prints out of them.
“I’d put bones, clay pipes and things together, photograph them and then translate that image into a photo-polymer etching.
“In lockdown, when I couldn’t go out or mudlark, I was stuck at home with a big box of bones and started to think of how I could create work differently.
“That was a shift in my work as an artist, to go from 2D work to sculpture.”
Amy-Leigh’s piece, Ancient Ruins, 2020, is included in Secrets Of The Thames.
Mudlark Alessio Checconi explores the Thames foreshore at low tide in search of treasures washed up by the ever-churning waters – image by John Chase / London Museum
key details: Secrets Of The Thames
Secrets Of The Thames will be at London Museum Docklands until March 1, 2026 and is accessible during normal opening hours.
Tickets are cheaper if booked online in advance and start at £16 for adults.
The largest creatures on Earth have inspired countless works of art and fiction, often used to draw attention to matters of importance.
In the Hebrew scriptures, Jonah finds redemption in the belly of a great sea creature, having turned back to a righteous path.
There’s Moby Dick and Thomas Hobbes’ Leviathan too, but we needn’t get bogged down with revenge, obsession and highfalutin social philosophy.
More recently, Star Trek IV: The Voyage Home saw Captain Kirk and crew forced to time travel back to 1986 on the silver screen to pick up a pair of humpback whales, thereby averting ecological disaster after an alien probe comes seeking the ocean giants, only to find them extinct in 2286.
That’s almost as far-fetched as everyone running around with hand-held communication devices and tablet computers…
Recently unveiled on Water Street, Whale On The Wharf, then, belongs to that proud tradition of leveraging the largest animal on the planet as a lodestone for attention and it’s exactly what StudioKCA’s intallation does.
Leaping from the waters of the dock close to Marceline and Dishoom, the 12-metre high sculpture successfully breaches the consciousness of passers-by.
StudioKCA have also created similar pieces in Kaohsiung, Taiwan, and in Bruges, Belgium.
The whale’s skin is made from plastic waste reclaimed from the ocean – image by Jon Massey
the story Whale On The Wharf tells
“We’re telling the story of how we live, what we use, where it ends up and what we should do about it,” said Jason Klimoski, who along with his wife Lesley Chang run the Brooklyn-based art and design studio that created the piece.
“It’s about the 150million tonnes of plastic in the ocean and the 8million we add to that each year.
“A lot of that is hidden, so bringing some of it here hopefully helps people visualise it.
“The plastic used in Whale On The Wharf comes from the Pacific and the Atlantic. We worked with the Hawaii Wildlife Fund to collect about five tonnes of plastic.
“We cleaned it, organised it by how long it had been in the water, sorted it by colour and cleaned it piece by piece.
“We chose to make a whale because, pound-for-pound, the plastic in the ocean weighs more than the total of all the whales on the planet.
“We thought it would be the perfect metaphor to help people understand the scale of the problem.”
The sculpture is supported on a recylced steel frame and concrete foundations made with biochar from spent coffee grounds collected from Canary Wharf – image by Jon Massey
a sustainable foundation for Whale On The Wharf
While the leaping creature is the public-facing portion of the work, Whale On The Wharf is also a creation of significant depth.
Canary Wharf Group’s commission is about a lot more than adding to its extensive public art collection.
Wharfers sipping coffee on the estate and then discarding their cups in its waste bins have contributed to its construction.
The sculpture sits on a foundation of concrete made with biochar, a material that replaces sand in the mix and is made from those discarded grounds.
This also prevents CO2 being released when the coffee breaks down and reduces demand for the extraction of traditional raw resources from the Earth.
“We understand the power that art holds,” said Sophie Goddard, director of environment, social and governance at Canary Wharf Group.
“It can provoke emotion and it can create change.
“With this project we’ve really pushed the boundaries of what can be achieved.
“We thought about how we can take the principles of the circular economy and push those forward.
“We’ve locked up spent coffee in the foundation and we’ve been able to do that through the efforts of our in-house waste management team.
“They hand-sort the rubbish that goes into our bins and their work means we’ve sent no waste to landfill since 2009.”
Whale On The Wharf is free to visit and stands 12 metres tall – image by Jon Massey
a strong steel core
On top of the concrete, Whale On The Wharf is supported by a braced steel structure made from recovered and reused steel to further reduce its environmental impact.
Jason said: “Inside the sculpture there’s a steel spine that supports the structure and aluminium armature to make the shape of the whale.
“Onto that we attached each of the pieces of plastic using steel ties and screws.
“We really want people to see the things they use every day, to recognise them and then wonder what happens to them. How did the things that make up this sculpture get here? What was their journey?
“There’s a car bumper, a kid’s toilet. It’s really the items that relate to children I find both funny and sad.
“Hopefully there’ll be a conversation at home after, especially with the kids, about how we use plastic and what we do with it afterwards.
“When we were building it, we were focussed on the scale of the issue, not necessarily on the thing itself.
“We have a son and so we have to think about the stuff we buy him and what will happen to it.”
Now Canary Wharf has both a head-turning artwork and also a constant reminder of the consequences of unbridled consumption on our planet.
As well as its role in drawing attention to environmental issues, the installation is a significant addition to the estate’s sculpture collection – the largest publicly accessible collection of outdoor works in the UK.
“The whales is a landmark, it’s visually stunning and it really stops people in their tracks,” said Lowri Harries, associate curator of public art at Canary Wharf Group.
“That’s exactly what we want. Since our initial call with Jason, the installation has involved pretty much every part of our business.
“Construction, development, sustainability, marketing and communications as well as all the external contractors that have worked on the project.
“It’s taken a village to make this happen and we’re really thankful to everyone involved.”
An Ode To Never Fitting In, 2024, by Ashley Cluer is seen at Refuse in Broadwick Studio – image by Jon Massey
Visitors can expect to see a selection of sculptures including a vast chain made from medicine blister packs and vibrant lime green shapes made from cement, newspaper and recycled wood.
Free to access, the exhibition is on display at Broadwick Studio.
Perhaps when prompted by all these signs, we might take more notice of the way we’re living as a species and even avoid alien annihilation in the future.
PS, at Wharf Life we’re calling the Whale Bruce. You didn’t hear it from us…
key details: Whale On The Wharf
Whale On The Wharf is located on the corner of Water Street and Park Drive in Canary Wharf’s Wood Wharf. The installation is free to visit.
Refuse is in place until April 26, 2025, and is open from 10am-6pm on Thursdays, Fridays and Saturdays at Broadwick Studio on the corner of Water Street and Charter Street in Wood Wharf.
Alan Hardie is, at least in part, powered by Irn-Bru.
The Glaswegian beverage famously “made in Scotland from girders” is an on-brand drink of choice for the man in charge of the University Of Sunderland In London for two reasons.
Firstly, the orange liquid fits neatly with the institution’s colour scheme.
Secondly, the ammonium ferric citrate that gives it its bright and fizzy hue recalls the steel necessary to make a success of launching a London campus – steel is an alloy rich in strength and flexibility.
And what a triumph the University Of Sunderland’s campus in the capital has been.
Since its launch in 2012 at a building on Marsh Wall on the Isle Of Dogs, the campus has seen more than 28,000 students pass through its doors.
The University Of Sunderland In London started off with four programmes, expanding over the years to 31.
It currently has around 6,000 students with an expectation to “grow significantly”.
The new campus is located at Harbour Exchange – image by Jon Massey
a new campus
“We needed to move because our existing building was tired and it was time for a change,” said Alan, who is the university’s pro vice-chancellor for international office and branch campuses.
“The other thing was there just wasn’t the space for some courses and there was nothing else we could do to improve it.
“Those were the things driving us to do something better.
“We chose this location because it’s a great part of London with fantastic transport links and we already had thousands of students coming here – we didn’t want to say to them that we were making life more awkward by relocating somewhere else.
“I’m amazed at the facilities we’re now able to offer.
“I was able to take one of my deputy directors – Lynsey Bendon – away from her student role temporarily and the job she and the team have done on the new campus is outstanding.
“When I first saw it finished, I was genuinely blown away – we couldn’t be happier. It’s light, it’s funky and everything’s been done to a high standard.
“There are lots of areas for students to work together and on their own and a great staff area too.
“Hopefully it projects confidence, that we’re serious about what we’re doing.
“We’ve got the space to be even more successful – to prove ourselves – and I think we can.”
Based on the last 13 years, that’s an aim that seems eminently achievable, given the progress already made.
For Alan, the London campus’ growth has been a story of adaptability – being able to rapidly change course.
There are dedicated facilities for specific courses – image by University Of Sunderland In London
adaptability at the University Of Sunderland In London
”Here we always want the student to be at the heart of any decisions we make,” said Alan, who is originally from Newcastle and has a private sector background working in human resources.
“If that means paying for extra staff to make things more efficient, then that’s what has to happen.
“As we’re a smaller part of the overall organisation, we’ve managed to speed things up that would otherwise have to go through a committee for approval.
“What we’ve been fairly good at is taking time to understand our student demographic, which is different from some other universities.
“If people come through the door we should treat them really well and, in general, I think we do that.
“If you go into a supermarket, for example, they say they’re doing things for the customer, but the way the store is laid out is really in the company’s interests.
“We choose to operate the campus in a way that works for our students, many of whom are older and may be fitting their education round jobs and childcare.
“It’s important they don’t feel bounced around and that we run as a one-stop-shop.
“Over the 13 years, it’s been key that we’ve learned how to do things ourselves and change where necessary.
“We have a variable intake model, meaning we welcome new groups of students three times a year.
“We have people coming into the campus and leaving all the time with students at all stages of our courses.
“What that allows is for us to identify what is and isn’t working within a 12-week window three times a year, rather than waiting to assess things at the end of a full 12 months.
There are dedicated facilities for specific courses – image by University Of Sunderland In London
“It means we can quickly adapt and iron out any problems if necessary ready for the next intake.
“That’s been incredibly rewarding as a process and it’s relied on having a team of like-minded people.
“We’re 252 miles from the mothership and while the original idea was that the campus would run with a small group of staff with services provided remotely from afar, it became clear after a few weeks that wasn’t going to work.
“So we learned how to be more self sufficient and that’s been a theme during our time in the capital.
“We want to celebrate our students.
“We switched to using Southwark Cathedral for our graduation ceremonies, which is an iconic venue.
“Previously we used local hotels, but moving things takes us to another level, which is what we’re always trying to do.
“The question for us is always: ‘Why should students come here?’. It’s up to us to create the answers.
“We’re not for everybody. Some institutions have better programmes or a greater legacy – it’s our choice whether we want to challenge that by doing things differently.
“Initially when we opened with just 199 students there was a kind of modesty – a lack of confidence – for the first couple of years.
“But with support from our base up in Sunderland we’ve continued to grow and expand.”
With such stellar facilities now on tap, the university is clearly on a sure foundation to build on that even further.
Secretary of state for education, Bridget Philipson MP, opens the new campus in the presence of University Of Sunderland chancellor Leanne Cahill, vice-chancellor Sir David Bell, Alan, deputy directors of the University Of Sunderland In London, Lynsey Bendon and Geoff Paul and head of marketing, recruitment and admissions, Jelena Miljanic – image by University Of Sunderland In London
opening the university’s new campus
>> The University Of Sunderland In London’s new campus was officially opened on March 27, 2025, by secretary of state for education, Bridget Philipson MP.
She said: “As a Sunderland MP, it does give me such pride to see the university going from strength to strength.
“The investment here is the stepping stone to even more growth, excellence and opportunities for people to study.
“I know the impact the university has for local economies, for driving growth both in the north of England and in London.
“It’s more important than ever that our universities are financially sustainable and that means stepping up, as Sunderland has, to drive forward growth, opportunities and productivity – that dynamism that the sector can bring.
“I think we all know we have to do more to narrow those gaps where it comes to inequality and educational opportunity.
“The University Of Sunderland has always been at the forefront of driving that forward and I’ve seen that impact, not just for young people, but for all the adults who have had the chance to go back into education and get on and everything that means for them and their families as well.
“That’s what the university is doing with this new building and I’m so excited to see it put to such good use.
“We can all feel what that means in terms of possibilities for those who come to study here from overseas and also from local communities.”
The new campus boasts a multitude of breakout areas – image by University Of Sunderland In London
key details: University Of Sunderland In London
The University Of Sunderland In London is based at Harbour Exchange on the Isle Of Dogs and offers courses in business, finance, management, tourism, hospitality, events, engineering, project management, nursing and health as well as postgraduate research.
Legal And General Affordable Homes is set to host an open day for its shared ownership properties at East River Wharf.
when’s it happening?
The housing provider has scheduled the event for May 10, 2025, in the Sky Lounge at the development, which is part of Riverscape, a scheme on the banks of the Thames in Royal Docks.
The idea is to lessen the burden of purchasing a property, be that stamp duty, moving costs or legal fees.
how does it work?
The £5,000 is deducted from the overall cost of the property on completion with the purchaser responsible for assigning the cash appropriately.
To be eligible, buyers must reserve their shared ownership home before midnight on June 30 this year.
East River Wharf homes all feature private balconies – image by Legal And General Affordable Homes
more about East River Wharf
tell me about East River Wharf
Located close to Lyle Park, the scheme offers one, two and three-bedroom apartments within easy walking distance of Silvertown and Pontoon Dock DLR stations.
They also benefit from Royal Wharf Pier, which is served by the Uber Boat By Thames Clippers river bus service.
what are the properties like?
The shared ownership apartments feature open-plan living spaces, fully fitted kitchens with integrated Siemens appliances, private balconies and an NHBC 10-year build warranty.
and the residents’ facilities?
Those moving into East River Wharf will get access to a residents’ gym, pool and spa as well as Riverscape’s Sky Lounge.
There’s also a 24-hour concierge service and estate security.
what’s the area like?
East River Wharf’s blocks are located close to Lyle Park on the western edge of the Royal Wharf area.
Locally, many businesses are now established including a riverside pub, cafés, restaurants, a convenience store and a nail salon.
The scheme is also close to publicly accessible tennis courts and Thames Barrier Park, which boasts extensive landscaping and open space along the river.
Apartments come with integrated appliances – image by Legal And General Affordable Homes
a regenerated areas
and the location?
Royal Wharf is undergoing vast swathes of regeneration and boasts strong transport links to other areas of London.
Canary Wharf is around 15 minutes away, with direct links to the likes of London City Airport, Woolwich and Bank also available.
why shared ownership?
The scheme allows buyers to access housing with a much lower deposit than when purchasing a home on the open market.
This typically results in monthly outgoings that are cheaper than renting a home in the same area.
Housing providers sell a share of a home – often 25% – with buyers taking out a mortgage on just that portion of the property.
That means they may pay as little as 5% of that value as a deposit.
They then pay a capped below-market rent on the rest plus the full service charge and can live in the property essentially as though they own it.
getting more
Owners can choose to increase their share in a property via a process called staircasing right up to 100%. As their level of ownership rises, the rent they pay falls.
how much is East River Wharf?
Prices at the development start at £96,875 for a 25% share of a one-bed based on a full market value of £387,500.
Two-beds and Three-beds are also available.
The view from the Sky Lounge – image by Legal And General Affordable Homes
key details: East River Wharf
Legal And General Affordable Homes Open Day at East River Wharf is set to take place on May 10, 2025, from 10am-4pm in the Sky Lounge, offering tours of available apartments.
The plans include a £72million investment in the restoration of the site’s seven Grade II listed gas holders and boast extensive open space including a 4.2-acre park on the river bank.
An artist’s impression of the Bromley-By-Bow Gasworks development – image by Berkeley Group
prime brownfield: Bromley-By-Bow Gasworks
“This is one of the most challenging brownfield sites in the country and transforming it into thousands of sustainable, well-connected homes and a publicly accessible 4.2-acre river front park was always going to require a unique, collaborative solution,” said St William managing director Dean Summers.
“It is a testament to our brilliant partnerships with Historic England and the London Borough Of Newham and the invaluable input we have received from residents that we have reached this milestone and that we move one step closer to realising this site’s enormous potential.
“Private-public sector collaborations like these have never been more important as we continue to navigate challenging market conditions and work together to boost housing delivery and growth.”
The east London scheme features buildings constructed within the gas holders – image by Berkeley Group
from historic into the future
Regional director for Historic England in London and the South East, Tom Foxall, added: “These regeneration plans form Bromley-By-Bow Gasworks are an exemplar of how historic brownfield sites can be transformed into new developments that both help address the housing shortage and boost local economic growth, while embracing an area’s cherished heritage.”
The plans include 13 residential buildings, some of which will sit within the existing gas holder frames as well as 30,000sq ft of commercial space.
This latest scheme sits adjacent to Berkeley’s 22-year TwelveTrees Park development, which will deliver more than 3,800 homes on a site next to West Ham station and includes a new entrance to the transport hub.
A series of open spaces and parks will be created as part of the project – image by Berkeley Group
and beyond Bromley-By-Bow Gastworks, in Stratford and Beckton…
In addition to these schemes, St William was also granted planning permission in January for the long derelict Stratford Gasworks site.
Here the developer is set to build a 245-home development, designed in partnership with Cowen + Partners and LDA Design.
Its scheme responds to the nearby Grade II* listed Abbey Mills Pumping Station and a group of listed mid-19th century houses designed by sewer network creator Joseph Bazalgette.
St William has also submitted a planning application for Beckton Gasworks, a site close to the Thames, up the river from Royal Albert Dock.
Here the company plans to build around 2,900 new homes and more than 50,000 sq ft of commercial space on 12 hectares of land.
With permission granted for thousands of homes, buyers seeking properties on former industrial land won’t be short of choice in the coming years.
key details: Berkeley Group homes
While homes at Bromley-By-Bow Gasworks and the other industrial sites are not yet available to buy, those looking to secure a Berkeley-built property can find apartments for sale from £495,000 at TwelveTrees Park.
Maya Jaggi has spent much of her career making space for international writers in the UK.
After studying PPE at Oxford and international relations at LSE, she began her journalistic career in current affairs.
“I was in my 20s and it was a fairly academic journal, but I started a literature section,” she said. “Whenever I was doing anything about international politics, I was always thinking about where the cultural aspects were.
“They always make everything so much richer – history, memory and imagination are the building blocks of fiction – and that’s something that gets left out.”
It was a niche she explored in greater depth through her extensive work at The Guardian, reviewing novels by overseas authors and interviewing a great many for the publication.
The EBRD is owned by some 77 shareholders – namely countries spread across 5 continents as well as the EU and the European Investment Bank.
Set up in the wake of the fall of the Berlin Wall, it supports primarily private sector enterprise in democratic states, helping foster the transition to open market systems in those territories.
While initially it was set up to support eastern European countries in the wake of the Soviet Union’s collapse, its work has since broadened and spread to more than 30 nations over three continents, with €210 billion invested in more than 7,400 projects.
In 2022, it moved its headquarters to 5 Bank Street in Canary Wharf.
A shortlist of 10 books has now been unveiled ahead of the announcement of the winner in June – image by Ale Di Padova/EBRD
Now in its eighth iteration, publishers are invited to submit works of fiction that have been translated into English from countries where the institution invests.
A panel of judges then goes through these, producing a shortlist before three finalists are revealed.
The overall winning author and translator split a prize of €20,000 equally between them, while the other two finalists split awards of €4,000.
For 2025, the prizes will be awarded on June 24 at EBRD’s Canary Wharf offices.
Maya Jaggi, chair of the judges for the 2025 prize – image by Jon Massey
who decides?
The bank invites a panel of independent judges to pick both the shortlist and the finalists.
This year Maya has been joined by writer and editor Selma Dabbagh, translator and associate professor in Ukrainian and East European culture at UCL, Uilleam Blacker and writer and foreign correspondent for BBC News, Fergal Keane.
“I was invited to be a judge two years ago, so this is my third stint and, as chair, I get to suggest people to be on the panel, which has been a great pleasure,” said Maya.
“What I wanted were good readers, experienced readers and that’s what we have.
“There’s no long list and we don’t disclose how many submissions we’ve had for the prize, although they have been growing year-on-year and 2025 has been a bumper crop.
“All of the books go to each of the judges and we’ve been in contact with one another since December, discussing them.”
The EBRD Literature Prize judging panel hard at work – image by Ale Di Padova/EBRD
standing apart
“This is not a prize for literary translation, it’s a prize for the book,” said Maya.
“The author and translator are equally rewarded in recognition for their contribution to the work as published in English.
“As judges we’re looking for many things. You want to be surprised by something you haven’t read before and the wonderful thing about this prize is you find that in spades.
“During the judging, Fergal mentioned vigour, quality, originality and experimentation.
“This year there has been a lot of competition for those 10 shortlist slots.
“I’m always looking for originality and therefore how much you’ve read as a critic and a writer is relevant.
“The other thing is authorial voice – whether direct or indirect. Can you sense the presence of the author?”
a skilled rendering?
“It has to be a good book, but you’re also looking for a good translator,” said Maya.
“There’s the question of all the registers – how formal or informal the language is and how well the translators get that.
“Then there’s the whole question of slang or how dated the language is. Capturing all of that is a huge skill.
“As judges we have to consider whether a text has been flattened into uniform English. Does it capture the nuances?”
the EBRD Literature Prize, a showcase of innovation
“The nature of the prize and the countries where the Bank is investing means you find a lot of innovation,” said Maya.
“For example, where there’s a war, to capture the reality of things like bombs going off or a sense of being threatened, authors create new styles.
“In my experience, that extremis is something that comes out in new forms of writing.
“One of the books on the shortlist, My Women by Yuliia Iliukha, has been translated from the Ukranian by Hanna Leliv and it’s something the author calls flash fiction.
“It’s formal, it’s honed, but it’s, in some way, unfiltered – more raw, more emotional. It’s about anonymous women in war, and it’s very like poetry.
“Another thing that’s going on in central and eastern Europe is a reckoning with ultra-nationalism, and that’s something we noticed as a thread through some of the books.
“Celebration by Damir Karakaŝ, translated from the Croation by Ellen Elias-Bursać, is about the rise of the far right.
“It’s a subtly ironic title about the moment in 1941, when Croatia became independent for the first time in 1,000 years.
“That was the moment when, on the back of an alliance with the Nazis, it became a country – so it’s a very double-edged thing.
“There’s this thinking about history and memory.
“It’s 30 years since the end of the Yugoslav wars and the book is looking back to the Second World War, but that kind of nationalism rose again.
“It’s another very important thread.
“While judging we talked a lot about fact and fiction.
“What you get through literature rather than through news reports may be mundane human interaction but it’s just as interesting.”
looking forward
“The prize was set up to recognise the diversity of the cultures and languages in the places the bank operates,” said Maya.
“There’s still a competition for staff to review any book on the shortlist and we’ll be announcing the winner of that at the ceremony too.
“The EBRD isn’t just sponsoring this, it created it and it’s grown to be a prize in its own right.
“It’s important because you don’t want to think about people in mass metric or statistical terms.
“There’s nothing better than fiction for how people see themselves and their own realities – their problems, hopes and dreams.”
Read on for Maya’s thoughts on the shortlisted works – image by Ale Di Padova/EBRD
the shortlist
The key mission of the EBRD Literature Prize is to bring works from the countries the bank invests in to wider attention.
While the winner won’t be announced until June, we’ve reproduced the full shortlist here so Wharf Life readers can peruse those in line for the prize, get hold of books that take their fancy and make their own minds up.
As Maya says: “All of them are incredibly gripping reads.”
translated from the Czech by Alex Zucker, published by Bellevue Literary Press
>> “This looks at Kafka’s real letters to ‘F’ but through the eyes of her descendants,” said Maya.
“It’s a sceptical look at the cult of Kafka from the point of view of the family of a woman who appears in his work and it looks at how women are seen in his work.
“It moves between fact and fiction, and there’s an article that tells you what’s real and what’s not.
translated from the Croatian by Ellen Elias-Bursać, published by Selkies House Limited
>> “This is partly about masculinity through the eyes of a man who was in the far-right militia, allied with the Nazis, and then re-emerged in the 1990s” said Maya.
“I believe this writer was a fighter himself. He has taken a look at how people were persuaded by nationalism.
“It’s also a beautifully written novel about the land, about farming, about the countryside.
“It’s an expression of love of country that is not nationalistic.”
translated from the Polish by Antonia Lloyd-Jones published by Fitzcarraldo Editions
>> “This book is set in a sanatorium or health resort in Poland,” said Maya. “It’s funny and grim, like a horror story. It’s also gothic and full of misogyny.
“There’s an afterword about where these ideas came from – a who’s who of western culture.”
Olga Tokarczuk is the winner of the Nobel Prize In Literature
translated from the Romanian by Monica Cure, published by Seven Stories Press UK
>> “This is fiction based on fact too, looking at something not very well known globally or even within Romania itself,” said Maya.
“It’s about the carving up of the country from the end of the First World War and the Sovietisation, and the deportation of many people, including women and children after the Second World War to Kazakhstan on trains, with terrible gruelling journeys.
“It’s also about syncretism between Catholicism and paganism.”
Forgottenness by Tanja Maljartschuk
translated from the Ukrainian by Zenia Tompkins, published by Bullaun Press (Ireland) / Liveright (USA)
>> “Maljartschuk looks at two characters separated by 100 years– now and and a century ago in Ukraine,” said Maya.
“It’s about memory and history, and the effort to obliterate history in that country.
“She writes in Ukrainian, talks about the Soviet era, the killing of history and the ban on memory.
“It’s a wonderful reactivation of the past, which becomes an act of resistance.”
key details: the EBRD Literature Prize
The winners of the EBRD Literature Prize are set to be announced at its Canary Wharf headquarters on June 24, 2025, with authors and translators in attendance.
Members of the public will be able to register to attend the reception and ceremony closer to the time.
Adaptation for the stage sees correspondence between Gerard and Alice Fay form the basis of a new show
Rosanna Greenstreet and her husband, Matthew Fay, have worked together to adapt his grandparents’ story for the stage from their wartime letters as Dear Loll – image by Gail Fogarty
“Like a lot of people, my journey into the past is through my family,” said Matthew Fay.
“When my parents were moving house, a box emerged from the attic that my dad had kept his whole life, but never opened.
“Inside there were letters from my grandfather and my grandmother, written during the Second World War – hundreds of them.
“They pretty much wrote every day for four years.
“My dad died very soon after that, so he never read them, but I decided to keep them, without really being sure what to do with them.
“During lockdown, I started to get a bit curious about them and the story they told.”
Matthew’s grandparents were Manchester Guardian journalist Gerard Fay and his wife Alice, who he addresses as Loll – short for Lollipop.
While “Ger” was called up to fight in 1940 and spent much time in military training across the country, Loll remained at home in the north of England.
While apart, they communicated pretty much solely by letter, writing once or sometimes twice a day.
“I thought the letters were absolutely fascinating,” said Rosanna Greenstreet – a freelance journalist who has compiled Saturday Guardian’s celebrity Q&A column for more than three decades. She’s also Matthew’s wife.
“They were all jumbled up in the box, sometimes with just the day of the week written at the top.
“So I set about trying to put them in order using references to events in the war, his army stories, her domestic stories and his rise through the ranks to ultimately become a major.
“Then I digitised them.”
Alice and Gerard with their son, Stephen, Matthew’s father, during the Second World War – image courtesy Matthew Fay
“We went to see a fabulous production of Red Sky At Sunrise with Anton Lesser and Charlie Hamblett playing Laurie Lee the older and younger,” said Rosanna.
“It was a biographical work with music from an on-stage orchestra and we felt it was so moving.
“I thought we should approach the director, Judy Reaves, and do something similar based on the letters, so I wrote to her and she went for it.”
Adapted by the couple and starring Charlie Hamblett as Ger and Daisy Waterstone as Loll, the play is a tale of physical and mental survival, of the experiences of ordinary people during wartime, of the loneliness of separation.
“For the show, it was a question of finding the narrative arc,” said Rosanna.
“There’s so much of interest in the letters.
“Loll is looking after their toddler, Matthew’s father Stephen, and they then have another daughter and she moves into her own home.
“Then you have Ger’s military career, which reaches a climax when he takes part in D-Day and is wounded.
“They row in the letters too and we were very excited when we found the sex, discussion of contraception and pregnancy.”
The letters have now been ordered and digitised – image courtesy Matthew Fay
curating the letters for Dear Loll
Matthew, who works as an academic and teacher, added: “We’d actually been to see another show based on letters from the same period, but they were a lot more formal.
“These aren’t like that, they’re very modern, which I was a bit surprised at given my preconceptions about the era.
“As we have both sides of the correspondence, audiences get two very different experiences of the war and I think that’s something very special.
“The letters are a conversation so the adaptation was about sharpening and highlighting that interaction for the stage.
“One of the things the producer asked us to do was to have a section in the play where it was almost like dialogue, with much shorter extracts from the letters to give it more of a feeling of two people talking.
“The drama is inherent in what they wrote, so it was a question of shaping that and making it clear that there were tensions in the relationship because they were apart and then the joy when they were reunited.
“They were also trying to understand each other’s experiences of the war as he’s trying to learn to be a soldier and she’s learning how to survive as a parent on her own.
“Part of what the audience will experience is a fresh, perhaps myth-busting look, at what it was like to be in the army and also what it was like living in Manchester over those four years.”
Alice, or Loll, with Stephen – image courtesy Matthew Fay
a showcase of period culture
The letters contain a wealth of cultural references, which Matthew and Rosanna have both taken delight in getting their teeth into and the play will feature music from the period played by the Le Page Orchestra on violin, cello, clarinet, bass and harp.
Rosanna said: “They write about all the books they’re reading, the films, ballet and all the musical concerts.
“They’re cultured, but they’re ordinary people – not the rich writing about the war – and that’s what makes this story so unusual.
“They also both have strong social consciences and they are very aware of what’s going on, and don’t want things to go back to where they were before the war.
“For example, Loll tries to find out if she can donate blood, and she’s also very interested in the Beveridge Report, about family allowance, and she’s asking why the family allowance should be given to the husband.
“One quote from her is: ‘I hope the country can be saved from the upper classes, not for them’.
“At one point, Ger goes on a course with the Dragoon Guards and he’s very dismissive of them and all their horses.”
Matthew added: “I think it’s going to be very interesting and moving to see my family on stage.
“I didn’t know my grandparents as they died very young, within a year of each other.
“Ger was a very big character who became the London editor of the Manchester Guardian. The war was part of his rise from very humble origins.
“He had this very successful career, but his legacy is quite complicated in some ways.
“He travelled everywhere as a journalist, wrote books, but he struggled hugely with alcohol too, so there’s a real bitter-sweetness about that story.
“The trauma of the war was so widespread, people didn’t really talk about it.
“When he was in the army, he was articulate – in his prime – and it’s really nice to be able to put that story on stage.”
Ger, or Major Gerard Fay, Loll’s husband and a Manchester Guardian journalist – image courtesy Matthew Fay
key details: Dear Loll
Dear Loll is set to be performed at Wilton’s Music Hall on May 30, 2025 at 7.30pm and on the following day at 2.30pm and 7.30pm.
Tickets range from £17-£22, running time two hours.
While he might well be too modest to admit it, sitting across from Carl McCafferty, there’s little doubt he can pick a winner.
It’s fair to say the managing director of Toni&Guy’s Canary Wharf salon in Cabot Place took a risk in opening on the estate in the year 2000.
But it’s a move that has paid off, the start of a business that recently celebrated trading for a quarter of a century.
“I’m the son of a pig farmer from Northern Ireland and grew up in a small town called Enniskillen,” said Carl.
“I moved to Belfast when I was about 18, saw an advert for Toni&Guy and joined them in London in 1998. I was 19.
“The world of hairdressing really appealed to me – salons are a nice environment to be in.
“First I worked in Sloane Square and then Covent Garden.
“With the business, there are really two directions to go – you can either work to become an art director or you can have your own business and that’s what I wanted.
“At that time, Canary Wharf was set to become the new financial district, which was very attractive to me.
“I was advised to grab it as a franchise,so I did.
“As the Jubilee line extension opened, we launched in Canada Place in March 2000.
“Opening was a bit overwhelming, but the salon quickly became number one in the group.”
While the Wharf had yet to see many of the towers that dominate its skyline today appear, the area was nevertheless feeling the benefit of the new transport link’s arrival, which saw workers and organisations arrive in ever greater numbers.
“Waitrose hadn’t opened yet, the only shop at the time was Tesco – but there were 76,000 people working on the estate,” said Carl.
“It was mainly bankers and most would come in every three or four weeks for haircuts.
“The Jubilee line changed everything.
“When Waitrose did open it quickly became very popular and the whole Canary Wharf area has now become very residential with lots of apartments.
“When I first moved to London, I did east and west.
“First I lived in Leyton and then moved to Richmond before I found a flat near East India Dock in a beautiful old building.
“I’ve always preferred walking to public transport, so I wanted to be close to work.
“Now around me in that area alone there are thousands of apartments at London City Island and Goodluck Hope.
“In the salon, when we started, weekdays were key, while weekends were really dead. Now Monday to Friday is busy, but the weekends are even stronger. “
Having weathered the pandemic with solid support from the parent brand, Toni&Guy Canary Wharf set its sights on the future and has just reopened following a full refurbishment.
“It definitely feels like the start of a new chapter,” said Carl.
“Sometimes you don’t realise you needed a refit until you’ve done it.
“My first shop here was beautiful and lasted for nearly 13 years and moving to our current location in Cabot Place was a great opportunity for a new fit-out.
“Getting another new look has been a really exciting process.
“We’re the flagship of the brand, the benchmark and the design we’ve got now is going to be the blueprint for other locations.
“One brand we looked at for inspiration was Louis Vuitton – we were just blown away by their retail offering.
“The design we have is great with glass and perspex – everything in the main areas is bright and airy.
“We’ve also changed the colours for a more spacious feel.
“Before everything was white but now we have more organic tones, with browns and greys along with a change in lighting to make the main part of the salon feel brighter.
“We’ve also used low lighting, similar to a spa, to help people switch off from work along with hair therapy treatments and massages.”
Visitors to Toni&Guy today will find a welcome desk in shades of brown, with gold accents and a display of brightly lit products.
The salon floor itself features branded mirrors, columns of foliage and vibrant orchids, while the sinks for washing customers’ hair are located off to the side and come with hi-tech chairs and muted lighting.
Striking lightboxes, complete with House Of Toni&Guy branding complete the look, a reminder of the brand’s strong links to fashion and the staff’s extensive training.
“Those who want to work with us apply for an apprenticeship and we train them at the Toni&Guy Academy for two years,” said Carl.
“Then after 18 months on the floor, you get a very good job with status.
“The academy is really the pulse of the brand – where it all happens.
“Recruiting can be a challenge, we don’t take on just anyone, but this area has been good for attracting staff.
“I’m proud of the team and what we’ve achieved here.
“We’ve won more than 35 awards, which is a big thing for me because they are really competitive.
“Running a franchise has been great. Toni&Guy has always moved with the times – we’ve been the official partner of London Fashion Week for 20 years – so we have lots of fingers in pies.
“Canary Wharf is the same, it’s really continued to develop over the time I’ve been here.”
Toni&Guy in Canary Wharf is located directly under One Canada Square.
The salon is open on weekdays 8am-8pm, on Saturdays 8am-6pm and on Sundays 9am-6pm, offering a comprehensive range of cuts, colour treatments and styling for men and women.
It was as a teenager that Fleur Derbyshire-Fox first experienced the power of a big organisation reaching out.
She attended a special day at English National Ballet (ENB) for those interested in pursuing a career in dance.
“I remember my knees knocking when I went into that class,” she said.
“Then someone asked me if I’d thought about going into full-time training, which is what I then did.”
It was an experience that left her with a life-long drive to ignite similar sparks in others and something that’s central to her role as director of engagement at ENB.
The company moved out east in 2019 and, while its base at the Mulryan Centre For Dance on London City Island isn’t primarily a venue for public performance, it is the epicentre of ENB’s efforts to connect with those outside its doors.
Locally it hosts dance classes for all, companies of younger and older dancers as well as a programme for those suffering from dementia and coordinating activities across the country.
“The move to east London has been exciting and has opened up new opportunities for us,” said Fleur.
“When I took up this post in 2007, which was then called director of learning, what really attracted me was that it was about change.
“It was ENB recognising that to be a reflective organisation it needed to build on its engagement programmes.
“How would people know if they were interested in dance if they didn’t get a chance to find out? That’s been the purpose of my role.”
Dance For Parkinson’s Performance Company in action at RePlay, a recent showcase at ENB – image by ASH
an initiative in focus
Rather than try to encompass the totality of ENB’s myriad collaborations, initiatives and partnerships, we’ve decided to focus on one.
“The more you enliven the building, the more you’re engaging people. You have to bring them in, to reach out and that’s an ongoing process.”
Dance For Parkinson’s has been running through ENB since 2010.
Those living with the neurodegenerative condition, which affects sufferers’ movement leading to symptoms such as tremors, stiffness and physical slowness, are invited to participate in regular classes inspired by the company’s classical and contemporary repertoire.
“It was originally inspired by work done in the US by the Mark Morris Dance Group and began as a 12-week pilot programme, working with Professor Sara Houston of Roehampton University,” said Fleur.
“Her findings were ground-breaking and started our evidence-based approach.
“That was very important if we were going to be perceived as not being woolly.”
From there, grant funding allowed the roll out of the programme across the country via partnerships with the Royal Albert Hall in London, DanceEast in Ipswich, Liverpool Hope University in Liverpool, Oxford City Council and MuMo Creative in Oxford and the National Dance Company Wales in Cardiff.
The company celebrates after their performance – image by ASH
the benefits of Dancing For Parkinson’s
“The benefits for those with Parkinson’s are multi-faceted,” said Fleur.
“It helps with both the motor and non-motor symptoms of the disorder.
“Dance brings communities together, so it also helps with positivity and wellbeing.
“Because the classes are structured as ballet classes, all the exercises we do at the barre help with the posture, flexibility and fluidity of gait as well as giving people the tools for when their symptoms freeze movement.
“The classes have live music, which is fundamental because the musicians can respond to the participants and the exercises tap into that internal rhythm.
“The message is that you may be living with Parkinson’s, but this is a dance class where you are expressive – you’re a dancer in your own right – and you’re dancing with others, improvising as well as learning repertoire.
“All of these elements, plus the social element – the chat, the tea and, of course, the biscuits afterwards – make for a very strong community and that has given confidence to individual dancers to go on and join other groups.
“Parkinson’s is very individual in its symptoms, so it may take people quite a while to come to terms with it.
“We have chats when people are diagnosed about what happens next, what they can do, where they can go for help.
“Above all, we provide a joyous experience.
“Those coming along can expect a lot of smiling people.
“We start with a warm-up, seated, and we have our dance artists and musicians in the space.
“The movements we do are linked to the dance phrases we look at later.
“There will be lots of different rhythms, lots of different music threaded through the session.
“There’ll be a voice warm-up as well, so that the muscles in the face can be loosened up.
“It’s designed to free inhibitions.
“The artists might notice that some slower movements will be needed, and then we’ll do some different rhythm movements as well.
“Then we come to standing, and for those who need more support, there will be diversification within the class, so the movements can also be performed seated.
“We’ll do some partner work and improvisation and then we’ll start learning some material, so there’ll be a sense of achievement.
“At the end of the session there’ll be a cool-down and we’ll have a linking of hands to congratulate ourselves for the class and our artistic endeavours.
“We have such wonderful people taking part, it’s really great to bring everyone together. In some ways it’s a passion project.
“I’ve poured my heart into this, as has my team at ENB.”
Dance For Parkinson’s: a catalyst for research
However, Dance For Parkinson’s has continued to be more than a therapeutic endeavour.
ENB has been working with Professor K Ray Chaudhuri of King’s College London, a specialist in Parkinson’s Disease to better understand the effect of the classes.
“We conducted a randomised trial over three years,” said Fleur.
“We’ve had interim findings and the research is currently being peer reviewed before final publication later this year.
“But certainly the indications are that dancing in this way has benefits for all stages of Parkinson’s.
“The advice if you have the disease is to do as much exercise as you can.
“Over the years we’ve had physiotherapists come in and I’ve watched what they do.
“With that approach, someone might be given a series of exercises, but we’re replicating those movements in a joyous, artistic way.
“What we’d like to do is embed what comes out of the study into the various care pathways, so we can raise awareness with clinicians.
“Wouldn’t it be great if you could say to everybody with Parkinson’s that there’s a pathway using dance they can try for 12 weeks to see how they benefit?”
The collaboration with King’s, which culminated in a performance for friends and family, has also taken the programme in a fresh direction.
“We had people saying they wanted to do a bit more of this, so now we have a much faster-paced class,” said Fleur.
“It’s performance focused and we held our first show last year, with two more since.
“The production values are very high – they have to be at ENB. We believe that whatever we do, it needs to be on a par with what we put on the main stage.
“So we now have this other vehicle, and what’s so good about this company is they’re all advocates – they want to be seen and heard.
“I was speaking to one of our dancers recently, who said they would never have come to a dance class, let alone thought they would perform in front of 200 people, but they love it and want to continue doing more of it.
“That’s really wonderful to hear.”
key details: Dance For Parkinson’s
The next Dance For Parkinson’s sessions are set to run at English National Ballet’s Mulryan Centre For Dance on London City Island from April 23 until July 2, 2025.
Classes are on Wednesdays (excluding May 28) from 11am-1pm and cost £60 for the 10-week term.
Dance For Parkinson’s Performance Company’s summer term runs from April 26 to July 5, 2025, on Saturdays (excluding May 31) with sessions from 11am-1pm and costs £85 for 10 weeks.
