Rockcliffe Square

Ong Lai Kopitiam will bring Malaysian flavours to Canary Wharf

How Robert Ngo and his wife Mel have built on their street food brand, Eat Lah, to open a new restaurant in Wood Wharf’s emerging Harbord Square area

Ayam Goreng Berempah with the blue Nasi Kerabu, which gets its colour from the butterfly pea flower - image by Ong Lai Kopitiam
Ayam Goreng Berempah with the blue Nasi Kerabu, which gets its colour from the butterfly pea flower – image by Ong Lai Kopitiam

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“I want Malaysians, Singaporeans and south-east Asians to feel at home here and for people who have never tried Malaysian food before to have a really great experience,” said Robert Ngo, co-founder and director of Ong Lai Kopitian – set to open its doors at Harbord Square in Wood Wharf soon.

“I knew I didn’t want a simple place with four walls and a kitchen where we would just cook food.

“We’ve spent a long time and a lot of money and effort on the fit-out.

“I believe restaurants are really important, not just places to eat, but places to hang out at – somewhere for the community.”

 Ong Lai is joining a rapidly emerging part of Canary Wharf based around independent businesses.

Already Italian bakery Signorelli is drawing Wharfers down to Union Square, with another new restaurant – Nora – coming later this year. 

There’s also Wayne Hairdresser Salon, floristry from The Flower Club and beauty services from Awe London as well as recent arrival The Island Studio offering Reformer Pilates classes.

So what does Ong Lai bring to the mix?

Well, firstly, kopitiam means coffee shop, so there will be plenty of robusta-based brews on offer with beans imported from Malaysia.

But there’s also the food and hospitality, something that’s in Robert’s blood.

Robert Ngo of Ong Lai Kopitiam outside his soon-to-open restaurant - image by Jon Massey
Robert Ngo of Ong Lai Kopitiam outside his soon-to-open restaurant – image by Jon Massey

a journey into food

“I’m a first generation Chinese immigrant child – I was born in Hackney and raised in Leyton,” he said.

“When I was five, my dad opened up his first restaurant and, at his peak, he had about four takeaways – I was already in the kitchen from a very young age.

“By the time I was seven I was washing dishes, even though I was only as tall as the sink, so I was always around my parents doing business in the food and beverage environment and my dad was always getting me ready to take over the operation after my studies.

“But being young and naïve, I told him I had other ideas.”

After realising aerospace engineering wasn’t for him, Robert embarked on the lengthy training necessary to qualify as an architect.

But then the Credit Crunch dealt a double blow. 

The family business suffered a serious financial hit and Robert took a break from his studies to work as an architect’s assistant.

By the time he returned to education part-time, he realised the recession had damaged the industry to an extent that made finishing his training financially unattractive.

Instead, after a brief flirtation with estate agency, he went back into architecture working his way up in computer aided design to run a team of five people, rounding off the first decade of his career.

“I’d always been creative but that working environment wasn’t,” he said.

“People were coming in, doing the hours and getting paid silly amounts, but the environment was quite toxic. I needed a different outlet.

“I came home everyday hating my life and myself.

“My wife, Mel, got the worst of it – hearing me complaining.

“She said I should quit my job and start my own food business.

“The lowest point of entry was street food so I went all-in and spent about £7,000 getting a van and gazebos – I did everything properly, buying all the right equipment and created a decent brand.

“That’s how it all started.”

The restaurant will offer plenty of vegan options, including Kolo Mee with tofu and okra - image by Ong Lai Kopitiam
The restaurant will offer plenty of vegan options, including Kolo Mee with tofu and okra – image by Ong Lai Kopitiam

Eat Lah and blue rice

Co-founded with his wife, Eat Lah began serving Nasi Kerabu, a dish built around vibrant blue rice flavoured with herbs and spices that originated in Mel’s native Kelantan in Malaysia. 

Following a steep learning curve that has included street food markets as well as spells at Boxpark in Croydon and Canteen at Design District, the brand now operates around a professional prep kitchen, allowing it to trade at multiple locations as well as at events.

It’s a regular at Canary Wharf’s Thursday pop-up Lunch Markets, for example.

Positive feedback from customers on the quality of the food, plus a desire to offer something more complex than street food setups can has driven the couple to establish Ong Lai.

Menu experiments in Croydon and, more recently, at a pop-up in Canning Town, proved the viability of the concept and Robert and Mel began searching for a space in 2024.

The restaurant will serve kopi - coffee - specially imported from Malaysia - image by Ong Lai Kopitiam
The restaurant will serve kopi – coffee – specially imported from Malaysia – image by Ong Lai Kopitiam

opening Ong Lai Kopitiam

“We looked all over, but mainly in east London and then we were approached by an agent for Canary Wharf Group who was looking for independent businesses for Wood Wharf,” said Robert.

“We wanted somewhere that we could build the new concept from the ground up. 

“Ong Lai means: ‘Prosperous fortune come my way’, but it also translates as ‘pineapple’ in Chinese. At New Year they have big pineapples as decorations, so we’ve used the fruit in our branding. 

“The reason we created that name is that Malaysians and Singaporeans know what it means – it’s an inside joke.

“For people who don’t know, it’s a good conversation starter.

“The design is based on a traditional kopitiam with interior design by a Malaysian agency.

“Ong Lai is about being creative,” said Robert.

“Doing festivals, markets and office catering, Eat Lah always revolves around the blue rice, but we’ll be doing much more than that in the restaurant. 

“We will be doing an elevated version of it as well as Kolo Mee – noodles flavoured with soy sauce and shallot oil, Hainanese Chicken Chop and Malaysian Fried Chicken Wings.

“We’ll also be serving really good pork. 

“The name shows we’re leaning more towards the country’s Chinese food – we didn’t want to be a Malaysian restaurant that tries to do everything.

“But this will be somewhere people can come in for an Egg Tart or Kaya Toast with a coffee.

“The beverage side of Malaysian cuisine is not that celebrated over here, so we really wanted to do that.

“We’ll be serving the Kopi black with sugar or with condensed or evaporated milk as well as Teh Tarik.

“These are wonderful flavours that I drink every day when I’m visiting Malaysia.” 

Hainanese Chicken Chop will be available at the restaurant - image by Ong Lai Kopitiam
Hainanese Chicken Chop will be available at the restaurant – image by Ong Lai Kopitiam

key details: Ong Lai Kopitiam

Ong Lai Kopitiam is set to open soon at Harbord Square in Wood Wharf.

The restaurant will seat up to 30 diners and will be open daily.

Find out more about the restaurant here

Kolo Mee with Ayam Goreng - image by Ong Lai Kopitiam
Kolo Mee with Ayam Goreng – image by Ong Lai Kopitiam

Read more: Sons, Daughters wins EBRD Literature Prize 2025 in Canary Wharf

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Lina Stores review: Canary Wharf branch impresses with simplicity

Recently opened at Crossrail Place, the restaurant draws on more than 80 years of history to deliver a high quality Italian dining experience

Grilled prawns with tomatoes and garlic at Lina Stores - image by Jon Massey
Grilled prawns with tomatoes and garlic at Lina Stores – image by Jon Massey

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There’s a danger with growth, especially when it comes to hospitality brands.

A business founded and nurtured with passion by its creators can lose its appeal as economies of scale dislocate a sprawl of branches from the things that made the place good to start with. 

It’s understandable. Those seeking a profit margin will always be tempted to trim an ingredient here or there.

It’s an equation where small differences can translate into big savings.

The risk is how close to tipping the scales does an operation dare go? Will the punters really notice a sauce made with two cloves of garlic instead of three? How about one?

Fortunately, Lina Stores – recently opened in Canary Wharf’s Crossrail Place in the unit formerly occupied by The Breakfast Club, is more concerned with value and quality for its customers than making a quick buck.

At least, that’s the message it’s sending out on its pale green plates.

There could be a few reasons for this.

Firstly, the brand’s lineage is an 80-year-old deli in Soho rather than a beloved restaurant.

That brings with it a certain dedication to quality born of a family-run institution that was conceived primarily to supply Londoners with the kind of Italian treats which were a rarity at the time it opened.

The restaurants, which can now be found in 11 locations in London and Manchester, plus three in Japan, aren’t tasked with replicating an existing establishment, but instead aim to showcase produce.

The original shop is a jumping off point for this, rather than something to be photocopied.

Secondly, the team at White Rabbit Projects, which has worked with Lina to expand the brand, have clearly shed sweat to tread lightly.

Clean and green: The first floor dining room at Lina Stores in Crossrail Place - image by Jon Massey
Clean and green: The first floor dining room at Lina Stores in Crossrail Place – image by Jon Massey

an Italian ethos

Italian cooking at its best lives or dies on the quality of its ingredients often in spare, unfussy combinations.

There’s nowhere to hide and Lina isn’t afraid to be the neutral backdrop to the stars topping its green and white-striped serving paper.

The aesthetic of the Canary Wharf restaurant follows this pattern.

Head upstairs from the ground floor deli and you’ll find a bright, airy space with a barrel-vaulted ceiling.

Everything is in shades of pale green save the floor – marble the shade of emeralds at night.

There’s an open kitchen  too, with stools for diners who want to watch the magic happen.

It’s a minimal scheme akin to the slender black picture frames used to contain the delicate art on its walls.

This is because Lina saves nearly everything for the eyes and mouth.

30-yolk tagliolini pasta with truffle, a fabulous over load - image by Jon Massey
30-yolk tagliolini pasta with truffle, a fabulous over load – image by Jon Massey

sampling the food at Lina Stores

To start, we crunch the flesh of fresh green Bella Di Cerignola olives (£4) while making up our minds.

Burrata (£10) comes bathed in a little pool of extra virgin olive oil and dusted with black pepper – a simple, creamy delight on the tongue with a pleasant tang. 

Next comes the grilled prawns (£13) – three chunky specimens that arrive with a wedge of lemon and dressed with fresh tomatoes and garlic.

Expertly singed, these give up their meat without effort in sweet little chunks – an excellent way to whet the appetite for what we’re really here to try.

Lina in Soho is known for its fresh pasta, trays of which in its windows have been tempting passers-by through the doors for decades.

So what of the restaurant offering?

We order three due to greed and the desire to be comprehensive – the Jerusalem artichoke and ricotta ravioli (£10.50), the lamb sausage ragu pappardelle (£14.50) and the 30-egg yolk tagliolini with black truffle (at £17.50, the most expensive option on the menu).

The portions are sensible, the kind you might actually get as a first plate in a restaurant in Italy.

But the flavours are outsize.

The ravioli is earthy and vegetal, the tagliolini a fabulous overload of truffle, but the star of the show is the deep, rich pappardelle shot through with seasonal greens and chilli.

Great value, high quality. 

When the staff have relaxed into things – clearing away the plate for discarded olive pits without asking while I was still chewing, was a minor misstep – Lina is shaping up to be very good indeed. 

**** (4/5)

Jerusalem artichoke and ricotta ravioli at Lina Stores - image by Jon Massey
Jerusalem artichoke and ricotta ravioli at Lina Stores – image by Jon Massey

key details: Lina Stores

Lina Stores is located at street level in Crossrail Place. The restaurant is open daily from 11.30am-11.30pm.

The deli is open from 8am-5pm on weekdays and from 9am-5pm at weekends.

Bar Lina is open from 5pm to midnight, Tuesday-Thursday and from 5pm-1am, Friday-Saturday.

Find our more about the restaurant here

Read more: Sons, Daughters wins EBRD Literature Prize 2025 in Canary Wharf

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EBRD Literature Prize won by Sons, Daughters in Canary Wharf

The European Bank For Reconstruction and development has recognised author Ivana Bodrožić and translator Ellen Elias-Bursać with 2025 award

Author Ivana Bodrožić, left, and translator Ellen Elias-Bursać celebrate their win - image by Ale Di Padova / EBRD
Author Ivana Bodrožić, left, and translator Ellen Elias-Bursać celebrate their win – image by Ale Di Padova / EBRD

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Canary Wharf, known in the public psyche for its tall towers housing companies delivering financial services, has long been much more than that.

Its true essence is defined by the people inside those buildings – their interests, passions and diversity.

The European Bank For Reconstruction And Development (EBRD) Literature Prize – recently awarded at the organisation’s Bank Street offices – is an excellent example.

Born of a desire from staff to share in and engage with cultures in the territories where the bank operates, the contest is now in its eighth year and recognises works of fiction translated into English.

Both author and translator are equally celebrated for their efforts, reflecting the prize’s aim – to spread notable writing to as wide an audience as possible.

For 2025, an independent panel of judges led by critic and cultural journalist Maya Jaggi chose Sons, Daughters by Ivana Bodrožić, translated from the Croatian by Ellen Elias-Bursać as the winning work.

Ivana says she wanted to tell a story about how we're all locked in ourselves- image by Ale Di Padova / EBRD
Ivana says she wanted to tell a story about how we’re all locked in ourselves – image by Ale Di Padova / EBRD

a feeling of being locked in

“It’s a novel I published in Croatia five years ago, so I was writing it maybe seven or eight years ago,” said Ivana.

“It started from me and my own feelings of being locked in and is written from three different perspectives.

“The first is a woman who has locked-in syndrome.

“She’s paralysed but she has a really strong inner life.

“The second voice is that of a young man.

“He is transgender and he doesn’t feel like he belongs to his body when he looks in the mirror.

“The third is the perspective of the mother of the first character.

“She is a woman in her 60s. She was born and raised in the patriarchy and she is deformed by that system, although she doesn’t even realise it.

“I wanted to tell a story about how we are all locked in ourselves – that we can live and move, but  sometimes be paralysed.

“At the time I was writing it was difficult to be part of the LGBT minority in Croatia.

“It was when the Istanbul Convention was being ratified and there were some really loud parts of society – the right wing and the Catholic church.

“They wanted to point a finger at transgender people, saying that they were the biggest problem in Croatia and there were only one or two people who spoke out about their experience of living in that situation.

“In this radical metaphor through literature I was hoping that I could connect all those painful stories and make a novel that readers who wanted to be open could understand.”

EBRD Literatur Prize winners, Ivana and Ellen - image by Ale Di Padova / EBRD
EBRD Literatur Prize winners, Ivana and Ellen – image by Ale Di Padova / EBRD

winning the EBRD Literature Prize as an author

Ivana first found a love of reading as a child.

Growing up she spent five years in a refugee camp where “books were the only thing that told us there were other worlds, which was crucial for me”.

She said: “Books and stories became an essential part of my identity from an early age. Writing is connected with my life, not just talent but something I earned.

“I believe we can write about almost everything.

“What is important is our intention – what we want to do with our stories. 

“Do we want to harm or humiliate someone, or do we want to make a larger space for understanding and freedom for human dignity?

Sons, Daughters is not an easy book to read.

“All the stories are painful.

“My intention, when the reader closes the book, is to make them think that they have time to change something in their life, to open up a bit and see where their blind spots are.

“In that way, perhaps this novel is optimistic. 

“It shows you that you don’t need to be so closed, so locked in your own world.

“Winning this prize gives you the feeling that you’re a real writer and you know what you’re doing.

“It’s wonderful to know there’s a community of readers and what you’re doing means something.

“Writing can be a lonely job and being translated is very rewarding. Croatia is a very tiny community.

“It means a lot to know that sometimes I may be able to cross language borders.”

Ellen says she began working as a translator while living in Croatia - image by Ale Di Padova / EBRD
Ellen says she began working as a translator while living in Croatia – image by Ale Di Padova / EBRD

translating the work

In this instance, the person tasked with shepherding Ivana’s words over the hurdles of understanding was translator  Ellen Elias-Bursać – joint winner of the prize.

Born in the USA, it was studying Russian that sparked her professional journey.

“Our anti-Soviet professors wouldn’t send us to the USSR, but we were allowed to go to a Slavic country,” said Ellen.

“They found a programme in what was then  Yugoslavia, and I went for a year.

“I met a guy, finished school, went back and got married in 1974 and lived there until 1990.

“I had my kids there and became a community translator for many years, getting involved in translating literature towards the end of my stay. 

“I met Ivana through the publisher of her first novel, which was about the war in Croatia.”

The winners with the judges and fellow finalists at the presentation - images by Ale Di Padova / EBRD
The winners with the judges and fellow finalists at the presentation – image by Ale Di Padova / EBRD

winning the EBRD Literature Prize as a translator

Ellen said her process for translating a work began slowly before the pace picked up and she’d reach the end of a text.

Then a painstaking period of editing kicked in to ensure everything fitted together. 

She said: “Different novels require different contextual explanations depending on how much reference there is to local culture.

“It’s about the sound of the language and the humour too.

“There’s always loss and always gain with translation, you just hope there’s more of the latter.

“It’s tremendously gratifying to win this prize.

“Our role is to support authors and we end up doing much more than translating.

“We work with publishers, attend book launches, find people to review and promote things.

“I’m really happy that Ivana’s novel, which deserves attention, is thankfully getting it.

“I’m also very pleased the EBRD continues to support voices from many parts of the world by promoting books and bringing them to people’s attention – that’s a really valuable gift for everyone.”

key details: EBRD Literature Prize

The EBRD Literature Prize is awarded annually, recognising both the author and translator of a work of fiction. 

It celebrates creativity in the regions where the bank operates and aims to bring writing from a wide range of countries to a wider, global audience.

The other finalists recognised in 2025 were Ukraine’s Tanja Maljartschuk and translator Zenia Tompkins for Forgottenness, alongside Poland’s Olga Tokarczuk and translator Antonia Lloyd-Jones for The Empusium.

You can find our more about the prize here

  • Sons, Daughters by Ivana Bodrožić, translated from the Croatian by Ellen Elias- Bursać, is published by Seven Stories Press UK and is available through Waterstones in Cabot Place, priced £17.99.

Read more: Boisdale Of Canary Wharf launches Tropical Garden Terrace as the venue celebrates 15 years serving east London

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Win a family ticket on Horrible Histories: Terrible Thames’ river tour

Celebrating its fifth anniversary in London the floating show will be hosting a special day of sailings on July 19, 2025, including an appearance by Horrible Histories author Terry Deary

Audiences are treated to a tour by an enthusiastic student and a history teacher - image by Terrible Thames
Audiences are treated to a tour by an enthusiastic student and a history teacher – image by Terrible Thames

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London’s historical river tours with Horrible Histories: Terrible Thames are set to return from July 12, 2025.

The floating show, which takes in the capital’s riverside sights while showering audiences in horrifying, funny and shocking tales of days gone by is also celebrating its fifth year on the waterway. 

To mark that anniversary, passengers are being invited to book sailings on a special day of celebration on July 19, 2025, where they will meet royals and reprobates.

The likes of Queen Boudica, King Henry VIII, Queen Anne Boleyn, Guy Fawkes, Captain Kidd, Olaf The Viking and Julius Caesar are expected to be lurking near the tour’s point of embarkation – Tower Bridge Quay – during the event.

Also visiting on the day to meet fans will be Terry Deary, author of Horrible Histories, the series of gore-soaked books that not only sparked a passion for the past in the minds of countless youngsters, but also inspired the Terrible Thames theatrical tour.

The show itself is performed on the top deck of Silver Sockeye, a ship in Woods Silver Fleet, which takes a 45-minute route right through central London beginning and ending just east of Tower Bridge.

Audiences can expect to see Cleopatra’s Needle, Shakespeare’s Globe, the Houses Of Parliament, the London Eye and dive into the stories of Execution Dock, Jack The Ripper and the bloody goings on at the Tower Of London amid a multitude of harrowing tales.

Passengers are guided in their journey by a teacher and pupil on a trip to the capital awarded as a prize for excellence in history – but quite who is schooling who becomes a matter for debate.

Unique on the Thames, the show changes with the tide, which alters the time taken to sail up and down the river for each performance, meaning the actors have to constantly adapt the tour to suit the progress made.

It is performed by members of the Birmingham Stage Company, known for its adaptations of Deary’s works including The Best Of Barmy Britain, returning to the Apollo theatre this summer. 


The show takes place aboard Silver Sockeye, part of Woods Silver Fleet - image by Terrible Thames
The show takes place aboard Silver Sockeye, part of Woods Silver Fleet – image by Terrible Thames

your chance to win

>> For a chance to win a family ticket (one adult and three children or two adults and two children) to see the show this summer simply answer this question: Who wrote Horrible Histories?

To enter email your answer to info@wharf-life.com with the subject line Terrible Thames Competition.

>> Prize is tickets only, subject to availability. Transport to Tower Bridge Quay is at the prize winner’s expense.

There is no cash alternative. Entrants agree to have their data shared with Terrible Thames.

The closing date is July 30, 2025 and the editor’s decision is final.

The tour lasts 45 minutes and takes in the major London sights along the river - image by Terrible Thames
The tour lasts 45 minutes and takes in the major London sights along the river – image by Terrible Thames

key details: Horrible Histories: Terrible Thames

Horrible Histories: Terrible Thames is taking bookings from July 12 for daily sailings until September 3.

Adult tickets cost £25 while children aged 3-15 cost £15 each. Family tickets cost £70 with two adults and two children or £60 for one adult and three children.

Those aged 65 or over can sail for £20.

Find out more about the tours here

Read more: Boisdale Of Canary Wharf launches Tropical Garden Terrace as the venue celebrates 15 years serving east London

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Mudchute Park And Farm seeks long lease to secure future funding

Following the expiry of the current agreement, the charity looking after the land is in limbo and wants Tower Hamlets Council to grant it a 30-year term


Mudchute Park And Farm's lease expired in June 2024 - image by Jon Massey
Mudchute Park And Farm’s lease expired in June 2024 – image by Jon Massey

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In the 1970s, the tract of land now occupied by Mudchute Park And Farm was earmarked for a high-rise housing development.

Under that deal it would have been handed off to the Greater London Council by the Port Of London Authority, which had realised Millwall Docks’ days were numbered.

Instead, local residents rose up and fought a successful campaign to ensure the 32 acres would become public open space.  

There are very few living locally who would argue that the park, farm and allotments – which have served generations in the community five decades – are anything other than a source of enormous social benefit to those living and working locally.

It’s a site on which children can be face-to-face with real sheep, cows and pigs, where dog walkers can socialise their pets and where walkers can experience the pure joy of coming across a llama with a sceptical look on its face.

There’s also the farm’s work to support and nurture rare breeds and its efforts to preserve and enhance the natural environment.

It’s free, fun and accessible to all.

While there’s always room for improvement, it’s a site that rightly attracts plaudits as one of the borough’s gems.

Sue Mortimer, chair of the Mudchute Association - image by Jon Massey
Sue Mortimer, chair of the Mudchute Association – image by Jon Massey

an expired lease

However, it’s also an operation that’s currently hobbled.

The charity that runs the farm and looks after the site it sits on – the Mudchute Association – has been in negotiation with Tower Hamlets Council (which owns the land) to renew its long-term lease on the site since 2019.

However, that process has not yet resulted in an agreement between the two parties and the existing 20-year lease ran out in June 2024.

The charity currently has the right to continue operating on the site while it works to reach an agreement thanks to the Landlord And Tenant Act 1954, but this leaves it in a tricky position.

While the day-to-day operation of Mudchute Park And Farm continues, plans to improve and develop its offering for the future are severely impacted by the delay.

“We can’t apply for grants and funding because we have no lease in place – that’s especially a problem for large capital projects,” said Sue Mortimer, chair of the board of trustees overseeing the Mudchute Association.

“As a charity, we are heavily reliant on fundraising and volunteers – the farm is totally free at the point of delivery, a community asset that benefits everyone who lives, works and visits the area.

“We welcome 250,000 people every year, including more than 10,000 school children, care for rare breeds, offer volunteer training programmes and provide access to beautiful green space.

“The income we receive – from letting space to Muddy Boots nursery, for example – goes on feeding and looking after the animals and running the farm.

“Since the lease expired, we live hand-to-mouth.”

The land the park and farm sit on was originally earmarked for development - image by Jon Massey
The land the park and farm sit on was originally earmarked for development – image by Jon Massey

a lease of 30 years for Mudchute Park And Farm?

Sue said the farm would like to agree lease of at least 30 years with the council to enable the charity to apply for funding to further improve the farm and open up new revenue streams from developers locally.

“Mudchute is one of the few areas in Tower Hamlets where organisations engaged in construction can offset the loss of flora and fauna by investing in new habitats resulting in biodiversity net gain,” said Sue.

“But we have to have a lease in place in order to benefit from those arrangements.” 

While Sue and Mudchute are at pains to stress there are currently no plans to close the farm or to alter how it operates, just continuing with the status quo will increasingly cause the charity problems and potentially force it to make hard choices.

That could mean charging for services and activities or even entry to the farm.

 Negotiation between the council and the charity is seemingly at an impasse.

Free at the point of delivery, the farm is popular with local residents and visitors to the area - image by Jon Massey
Free at the point of delivery, the farm is popular with local residents and visitors to the area – image by Jon Massey

Tower Hamlets’ policy

The authority’s published policy on renting assets to voluntary and community sector organisations is that it will normally only grant a lease of up to five years to such groups.

However, there is provision in that policy to accommodate longer leases for organisations “where there is an opportunity to seek grant funding from organisations outside the council e.g. Big Lottery Fund” where those applications can only be made on longer leases, typically 25 years or more.

On the face of it, this may apply to the Mudchute Association and the council’s current position on the matter is unclear.

As the only 32-acre farm in the borough (one of the largest city farms in Europe, for that matter) it could well be considered a special case.

“I don’t really understand what the council’s position is, apart from the fact that they don’t like to give long leases to any organisations,” said Sue. 

“That seems a bit short-sighted in my view, considering what we do here.

“There’s also been the suggestion that we pay rent for the first time in our history, beyond the peppercorn levy of our old lease. 

“We are a charity and we don’t have a lot of excess money, but that’s something we may have to look at – the important thing is we have a fair offer from Tower Hamlets.

“We can’t agree to a rent that in five years time could go up exponentially and we can’t afford to pay.

“But we will look carefully at any offer we get.”

The farm supports rare breeds and has sheep, goats, pigs and cows - image by Jon Massey
The farm supports rare breeds and has sheep, goats, pigs and cows – image by Jon Massey

ongoing negotiations

Sue and the charity are hoping to resolve the matter with the council through negotiation, but given the past lease’s expiry and the slow pace of dialogue, they are also preparing to go to court over the matter if necessary.

They have launched a fundraising campaign to generate £75,000  with the intention of forcing a renewal – likely a 15-year term, at most.

The charity has also garnered extensive local support – expressed in a petition of more than 6,000 signatures – to raise the matter at a council meeting on July 16, 2025, to address both the lease extension and the principle of charging the charity rent for the first time.

Sue said: “We’d love to have this settled amicably without going to court. We’re all so passionate about the farm and, with a long lease, we could do so much more.”  

Nobody from Tower Hamlets Council was available for interview for this piece, however the authority did send a statement.

A spokesperson said: “We remain committed to reaching a fair and sustainable lease agreement with the Mudchute Association that supports their work and benefits the community and we are engaging through the appropriate legal processes to ensure a fair outcome.

“As part of this ongoing dialogue, our chief executive and our corporate director of housing and regeneration will visit the farm to help move discussions forward.”

The Mudchute Association is keen to negotiate a new lease with the council as soon as possible - image by Jon Massey
The Mudchute Association is keen to negotiate a new lease with the council as soon as possible – image by Jon Massey

key details: Mudchute Park And Farm

You can find out more about Mudchute Park And Farm and its campaign for a new lease online. 

The Tower Hamlets Council meeting on July 16, 2025, will take place at 7pm in the Council Chamber at the Town Hall in Whitechapel, for those wishing to attend.

Find out more about the farm’s campaign for a new lease here

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The Island Studio opens to offer Reformer Pilates in Canary Wharf

Founded by Sol Bouille in Hackney Wick, the Tower Hamlets fitness business has expanded to Brannan Street in Wood Wharf and offers group sessions


The Island Studio offers small group Reformer Pilates sessions - image by The Island Studio
The Island Studio offers small group Reformer Pilates sessions – image by The Island Studio

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Sol Bouille’s Pilates journey began with injury.

The Argentinian dancer and dance teacher suffered a slipped disc and turned to the exercise system to help her recover and strengthen her body.

“I’ve always been interested in movement and I have a degree in musical theatre, jazz dancing, singing and acting and I trained in New York at the Broadway Dance Centre,” said Sol.

“I’ve been working as a dance teacher since I was 21 and living in London for 12 years now.

“It was when I started to do Pilates after that injury that I discovered it was wonderful, not just for me but for everyone.

“As a dancer, I train very intensively, but I don’t like the anxiety that comes with training hard in the gym.

“I found Pilates very calming and mindful – you’re connected and you train very directly in every way.

“It’s not just about being strong.

“It helps you to walk, to stand, to be flexible, to be mobile.

“It doesn’t matter what age you are, or what your fitness level is, there’s always an option for you in a class.”

Founder Sol Bouille - image by The Island Studio
Founder Sol Bouille – image by The Island Studio

founding The Island Studio

After qualifying as a Pilates instructor, Sol built up her class load until she was full time.

Then after a number of years working in studios she realised she was dispensing advice to other instructors and started thinking about starting her own business.

“I wanted to have better ambience, better music and a better space in general,” she said.

The result was The Island Studio, a space in Hackney Wick with classes built around Reformer Pilates beds, which use the resistance of springs to support or challenge the body when exercising.

“Initially, I wasn’t a hundred per cent sure about opening my own studio, but a space became available, right next to where I live,” said Sol.

“It was spacious and airy, with beautiful natural light and, when I walked in, I knew it was for me.

“Many studios in London are underground or don’t have many windows, so I was lucky to find this place.

“It was perfect, so I started with just nine beds for Reformer Pilates.

“The classes are small and there’s so much you can work on. It’s an intimate experience, so I now have a lot more friends.”

Classes feature dynamic movements based on the classical Pilates system - image by The Island Studio
Classes feature dynamic movements based on the classical Pilates system – image by The Island Studio

growing the business

Opened in November 2022, Sol started as the only instructor, carefully building up the business, discovering the appetite for Reformer was strong in the predominantly residential community at Hackney Wick.

After hiring more instructors, her attentions turned to the future and growing the business.

While pregnant, a walk round Wood Wharf inspired her to get in touch with Canary Wharf Group, which was seeking Tower Hamlets-based companies to expand their operations in its newest neighbourhood.

Having also expanded to Kentish Town, Sol’s third studio has opened at Brannan Street, close to Union Square, this month.

“I’ve done all that and had a baby five months ago,” she said. “But I’ve always been creative beyond dancing – with colours, design and choreography.

“I’m doing everything at The Island Studio, I’ve created the role I always wanted.

“In Canary Wharf, just as at our other branches, we are offering small group Reformer Pilates classes.

“These are dynamic, following the principles of classical Pilates but with a modern approach. 

“Each class is a full body workout based on flexibility, strength and mobility.

“We plan the classes in such a way that everyone is welcome, so you don’t have to be strong or flexible, you just have to be there.

“You can train at the level you want.

“The advantage of training in a small group is that the instructors can personalise exercises and modifications to your needs – similar to what would happen in a private one-to-one session, but more affordable.” 

what to expect at The Island Studio

Reformer Pilates is unquestionably having a moment with studios opening across London and group classes at gyms consistently fully booked.

The Island Studio offers Wharfers a range of ways to experience its services.

“We have packages and memberships – the more you buy, the cheaper it is,” said Sol.

“When clients enter the space they will be greeted by an instructor.

“Then they take their shoes off and find their machine – the space is very clean and airy. 

“People can buy grip socks from us or use their own.

“Then it’s simple, you don’t have to remember anything – the instructor will tell clients everything they need to perform every exercise and offer modifications where needed.

“There’s nothing to worry about.”

key details: The Island Studio

The Island Studio is now open in Wood Wharf’s Brannan Street.

A three-class intro offer is available for £48.

Full details of classes and packaged can be found online.

Book your first class via this link

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Pittagoras brings gyros and tradition to Canary Wharf

Ilias Georgatos’ Greek restaurant at Wharf Kitchen builds on the talents and recipes from generations of his family in Kephalonia

Pittagoras is located on the lower level of Jubilee Place in Canary Wharf - image by Jon Massey
Pittagoras is located on the lower level of Jubilee Place in Canary Wharf – image by Jon Massey

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Pittagoras’ name is a fantastically neat way of summing up the Greek restaurant and takeaway, which recently opened up amid the street food businesses at Wharf Kitchen in Jubilee Place. 

Co-founder Ilias Georgatos smiles gently as I explain that I’ve worked out the clever pun on Pythagoras (he of the theorem, the hypotenuse and all that half-remembered learning in dreary classrooms).

But, as with everything at Pittagoras, there’s an extra level – a deeper layer that comes together from multiple ingredients. 

“There is the wordplay with Pythagoras,” said Ilias.

“But the name also showcases what we are doing. Our first location was in Tooting in a market and we serve our gyros on bread.

“Pitta is bread and, in Greek, the word for market is ‘agora’ – literally selling bread in the market.”

Pittagoras co-founder Ilias Georgatos - image by Jon Massey
Pittagoras co-founder Ilias Georgatos – image by Jon Massey

the origins of Pittagoras

In similar fashion, the ingredients list for its signature pork gyros – meat in pitta with garlicky tzatziki, tomatoes, red onions, parsley, oregano and fries – only tells a fraction of the story and, for Ilias, it’s a tale that goes back to his roots.

“I’m originally from Kephalonia in Greece and I’m the third generation of my family to be doing the exact same job,” he said. 

“My grandfather brought souvlaki to the island in 1956 and by the age of 10 I was helping my dad in the kitchen. 

“After I finished school I didn’t study, I stayed next to my father, but at some point I realised I was sick of the job. That’s one of the main reasons I decided to come to London seven years ago. 

“But then I was working in kitchens over here and managing restaurants and I realised the thing I’d decided I hated the most was actually the thing I loved the most.

“It was at that time I found my business partner – Gianni Perillo – who had a pizzeria in Tooting Broadway and he wanted to invest in my experience and my family’s heritage. 

“That’s how we started out with Pittagoras, about three and half years ago.

“Now we have four locations in Hackney Wick, London Fields, Tooting and at Canary Wharf.

“This latest opening is the next step for us, the biggest operation and we’ve been doing great here – it’s been very busy right from the beginning.

“The beauty is that it works at all times of the day – we know how much customers love our food.

“Most British people have been in Greece at least once in their life so they are familiar with our food.

“It’s also a healthy option – you get a complete meal with the salad and the meat.”

Pittagoras operates at Wharf Kitchen in Canary Wharf - image by Jon Massey
Pittagoras operates at Wharf Kitchen in Canary Wharf – image by Jon Massey

detail in dining

You don’t have to spend long with Ilias to realise Pittagoras is all about detail.

The meat for its chicken and pork gyros is expertly grilled on large vertical skewers and only shaved with a miniature circular saw when the Maillard reaction has transformed the flesh closest to the heat into crisp, unctuous morsels.

Then it’s all about combining the harvest with the right balance of accompaniments in the soft, welcoming embrace of the pitta.

“The first thing to get right is the meat, the bread and the yoghurt, so we bring them all from Greece, although we do use a butcher here in London too,” said Ilias.

“We also make sure we buy the best vegetables we can for maximum taste.

“It can be hard to find the right quality of tomato in the capital, but we have a trick – we buy them on the vine and then leave them out of the fridge to ripen and get a little sweeter.

“For me, the most important thing is what I learned from my father.

“It’s the secret of what he does – he thinks that if he doesn’t like what he’s cooking then he can’t sell it.

“When I’m cooking, the question is: ‘Would I eat it?’. The answer must always be yes.

“To make good food, you need good quality meat, and a simple seasoning – salt, pepper – and for it to be cooked properly.

“In gyros, nothing can hide, there’s no filler, no restaurant sauces to mask tastes. 

“My father is very proud of what we’ve achieved here, especially when I appeared on national TV in Greece.

“One Sunday, for a TikTok video, I made a giant gyros  and it went viral and I was invited to appear. For a month, I went on every channel and it was madness.

“For someone to appear on TV from the island of Kephalonia, it’s a big thing – a great celebration.  

“Growing up with my father, we had our ups and downs but we both love what we do and he still has a restaurant on the island. 

“He took a little place from his dad and grew the business to 10 locations before the crisis in Greece. 

“Now he has one location but makes about the same revenue as four shops because it’s very popular and people queue.

“He only does a few things – specialising in pork souvlaki – but people really like it, they wait 30 minutes.

“When I take my family over there in August, the restaurant is so busy we don’t get to spend much time with him so I was actually there last week to catch up.

“I ended up working next to him and that’s the way to spend time with my dad. 

“It’s very interesting because, after seven years in London, sometimes you forget where you started and you need to get back to those traditional recipes.”

Freshly made pork gyros at Pittagoras - image by Jon Massey
Freshly made pork gyros at Pittagoras – image by Jon Massey

open daily

Open every day, Pittagoras serves up its flavours in boxes for a little over £15 and in wraps for around £11. It also offers loaded fries for about £12.50 and salad boxes for around £10 or £14 with meat.

The restaurant doesn’t serve pork souvlaki as the charcoal necessary to cook it properly (in Ilias’ view) is a complex ask for a unit in the depths of a shopping centre. However, chicken souvlaki is available. 

With Ilias’ partner looking after the business side of things, he’s free to focus on his passion – the cooking and the people.

“My top concern is the food, but also our staff,” said Ilias. “I spend much of my time in our branches and I love talking to our staff and customers. We need to see the impact of what we’re selling.

“It’s a passion. We work seven days a week and I take advice from my father who says that if you do everything the right way, then the money will come.

“I think that’s where many people go wrong and fail – as soon as the numbers become more important it’s a problem.

“The day we employ someone who thinks that way is the day I return to Greece.

“That’s my retirement plan, actually.

“I would open a little restaurant in Kephalonia and do the exact same thing.

“My wife thinks I’m crazy, but in some ways this is a hobby for me. I still feel like I’m not really working.

“Pittagoras’ growth has been organic so far – we don’t have investors or loans, just the money we put in.

“We would like to find another location this year to open, which seems about the right pace.”

Chicken gyros salad at Pittagoras - image by Jon Massey
Chicken gyros salad at Pittagoras – image by Jon Massey

key details: Pittagoras

Pittagoras is located at Wharf Kitchen on the lowest level of Jubilee Place.

The business is open daily from 11am-10pm, with delivery available on the usual platforms.

Find out more about the restaurant here

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Ensemble Festival returns to Royal Docks with free shows for 2025

Clive Lyttle’s Certain Blacks is curating a weekend programme of acrobatics aimed at delighting, entertaining and educating visitors

Hydropunk - image by Helen Newall
Hydropunk – image by Helen Newall

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Certain Blacks’ Ensemble Festival is set to return to Royal Docks for two days of “excitement, entertainment and a bit of education” over the last weekend in July.

“Right now it’s quite hectic,” said Clive Lyttle, artistic director at Royal Docks-based Certain Blacks, which curates the event.

“We’ve got two new directors on board and we’re training staff to work on the festival. 

“We’ve got 10 young people who we recruit locally for the event – we try not to use volunteers because we know those living in the East End don’t necessarily have the ability to say they’ll do it for free and we want to give as many people as possible a bit of experience working in the arts.”

That focus on diversity is at the core of Ensemble Festival. Returning for a sixth time, the event is an outdoor celebration of circus, dance, physical theatre and street art – free at the point of delivery and as accessible possible.

Clive Lyttle, artistic director of Certain Blacks - image by Jon Massey
Clive Lyttle, artistic director of Certain Blacks – image by Jon Massey

entertainment and education

“The festival represents everything we’re about at Certain Blacks,” said Clive.

“There’s education alongside the shows and hopefully visitors will find out some new things and they’ll be mesmerised and entertained while that happens.

“Everyone needs a bit of a smile with everything that’s going on at the moment, and we hope they’ll get out and enjoy the wider area as well.

“This year, we’re working in partnership with the Royal Docks Team, which will be launching its free Summer Splash lido on the Sunday.

“The festival itself is going to have a bigger footprint too including performances outside City Hall on the greens so we’re growing it. We’ve got some really fantastic shows and I’m very excited about it.”

Certain Blacks is part of a network called Without Walls, a national consortium of more than 35 organisations presenting arts outdoors to people in towns and cities across England.

It works to commission and develop new work each year that can then tour the country and is supported by the Arts Council, where Clive worked for many years with a special focus on Newham.

He’s also a local resident, living opposite Excel in the Flying Angel, a former seaman’s hospital for more than a century before its conversion to apartments.

Holy Dirt - image by The Clay Connection
Holy Dirt – image by The Clay Connection

how Ensemble Festival draws visitors to the docks

“While we’re a festival for locals, we also attract people from across London – that’s one of our big aims,” said Clive.

“We always try to book the best, diverse artists available.

“The biggest show will be Tell Me, a whole programme from Without Walls about the experience of being diagnosed with HIV and living with that.

“It features circus artists and really large red cubes – the acrobatics are spectacular.

“It’s presented by the Sadiq Ali Company and features breathtaking Chinese pole work.

“We also have Waiting Song from Mish Weaver, where two trapeze artists perform to live music.

“The two artists ask the audience what they are waiting for in the workplace and they chat to each other.”

The latter, billed as a “lyrical exploration of how anticipation shapes our emotions and actions” as the acrobats engage mid-air in “a melodic conversation about their hopes for the future” exemplifies the physical nature of many of the shows.

Other highlights include Hug by Levantes Dance Theatre, with an artist soaring about the docks on a sway pole, Holy Dirt by Vidya Productions and David Glass, which blends live percussion and Indian performance styles with modern physical theatre and NoMo by Tiago Fonseca – a clown show about addiction to screens featuring juggling and body language.

Palais De Dance - image by Big Feast / Malcolm Hart
Palais De Dance – image by Big Feast / Malcolm Hart

a sense of fun

Ensemble Festival is often about radical movement then, but also a bit of a laugh.

“When the Mayor Of London moved in, they were a bit cautious about having shows right outside City Hall,” said Clive.

“But we’re working with the Royal Docks Team, which is based inside and this time we’ve got a great water installation that’s going to take place on the grass right next to the beach area.

“If the weather’s as hot as it has been recently, it’s going to be really amazing summer entertainment.”

Artizani and Tenderfoot Theatre’s Hydropunk promises a chance for the public to get up close to the wet stuff as a “chaotic, yet playful water machine cranks into motion”. 

The show is intended as a metaphor where everyone participating must work together to recycle the liquid and keep the fun flowing.

“We’ve also got quirkier acts, such as Palais De Dance,” said Clive.

“This show looks back to the Festival Of Britain, the 1950s and the whole dancehall culture, which we hope will speak to more of our older audiences.”

Presented by Olivier Award-winning live artist Miss High Leg Kick, aka Francesca Baglione, the spectacle promises a multi-sensory flashback with a twist to an era of celebrity appeal and the excitement of teenage nights out both then and now.

Other shows presented include The Hide, by Tilly Ingram, an installation and audio experience led by the artist that takes inspiration from birdwatching and reflects on hidden disabilities and Roots To Rise, a combination of poetry, movement and music that represents a call to ecological action from Nandita Shankardass.

Then, rounding things off, there’s Truth from Ramshacklicious and Hijinx, which will only be performed on the Sunday.

This “joyful street revolution” features a mixed cast of disabled and non-disabled performers and promises a riotous show that combines clowning with physical theatre and original music in an interactive, partly improvised happening with a message of hope.

Tell Me - image by Primo Video Productions
Tell Me – image by Primo Video Productions

key details: Ensemble Festival 2025

Ensemble Festival is set to take place from noon-8pm on July 26 and 27, 2025 at Royal Victoria Dock.

All performances and activities are free to attend and no booking is required. 

Precise times and locations will be available online prior to the festival and event stewards will be on site to guide visitors.

Find out more about the festival here

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Kokin at The Stratford review: A delicate, sophisticated triumph

Chef Daisuke Shimoyama’s new restaurant delivers beautiful food cooked exactingly over flames, venerating the depth of bluefin tuna

The platter of starters at Kokin - image by Jon Massey
The platter of starters at Kokin – image by Jon Massey

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Hiraeth, a Welsh word, has no direct translation in English.

It’s used to express a deep longing for a home or place that’s become idealised in the mind – a kind of yearning nostalgia tinged with melancholy. It expresses connection.

 Last year I was lucky enough to travel to Japan and experience just a few of its wonders.

The trip included a visit to an area riddled with hot volcanic springs – onsen – that the locals bathe in and use to gently boil eggs. 

These are left bobbing in specially built pools by the side of the path with passers-by welcome to take one and pay via an honesty box system. 

The memory was just one of a heap of glittering jewels from that trip, but one that rose to the surface sat in a recently opened restaurant in Stratford upon seeing the words “onsen tamago” as part of the accompaniment to its wagyu beef.

The trip to Japan was taken in the wake of my mother’s death and in grief we look for signs.

The flash of hiraeth came both from the recall of place but also that the meat’s place of origin – Miyazaki – is the surname of the director who made one of her favourite animations, the joyful My Neighbour Totoro.  

While these are deeply personal coincidences, I mention them because the dishes of chef Daisuke Shimoyama at Kokin are so beautifully put together, so finely honed in fire that they are more than capable of living up to the kind of perfection hiraeth expects.

Miyazaki wagyu beef with tamago at Kokin - image by Kokin
Miyazaki wagyu beef with tamago at Kokin – image by Kokin

simply perfect

On the plate – a piece of fine white porcelain softly glistening with a pattern based on ice crystals – the wagyu is simply perfect.

A delicate huddle of flesh and vegetables bathing gracefully and butter-soft on the tongue, it’s deep, rich and savoury.

This really is cooking of the very highest quality and, like any restaurant at that end of the scale, Kokin has the power to dance with emotions – and dance it does.

Our meal actually begins not with beef but with extraordinary joy – quite probably the prettiest platter of starters available in east London (or perhaps the whole city).

This tray of wonders includes oysters snuggling under a blanket of apple and jelly, single bites of steaming tofu, grilled tuna with egg yolk curry sauce, smoked mackerel sushi and chawanmushi – a wonderful savoury custard.

The tastes and flavours are as bright as the garland of flowers decorating the tray. 

It’s a thrill of a platter, each little bowl revealing new dimensions to the world, different textures and colours.

Daisuke is a subtle chef.

His dishes are simple on paper, beautiful to look at but astonishingly complex on the tongue.

While the presentation may appear chaotic at times, there’s little doubt that every ingredient, each little ferny leaf of garnish, is present intentionally and is part of the palette in a wider painting.


Three types of tuna plus salmon roe waiting to be made into sushi by diners - image by Jon Massey
Three types of tuna plus salmon roe waiting to be made into sushi by diners – image by Jon Massey

celebrating the tuna

Wild bluefin tuna from Portugal is the star of the show.

We eat it as sashimi, on the bone in a dish of the fish’s collar and in Temae – a make-your-own sushi course with three cuts blended in a kind of salad with the orange pearls of salmon roe.

Time and again we’re transported as plates arrive.

Flavours and smells evoke memories and stir feelings of fun and excitement that confound the expectation of straight-laced fine dining.

Wood-fired ice cream bamboozles the senses in a lake of fermented raspberries.

A tray of “chef’s desserts” land somewhere between afternoon tea and jelly for a kid’s party. 

Throughout, the staff are faultless, rapid and smooth delivering these culinary wonders with accuracy and dedication.

Kokin is not cheap, but it is exceptional value, so worth saving up for.

Set lunch menus start at £26, but with cooking of this quality it’s worth setting aside a budget and really going for it.

With an open heart, you won’t be disappointed. 

5/5 *****

The collar of tuna served on the bone at Kokin - image by Jon Massey
The collar of tuna served on the bone at Kokin – image by Jon Massey

key details: Kokin

Kokin is located on the seventh floor of The Stratford hotel in east London and is open from noon-2pm for lunch and from 5pm for dinner every day except Mondays.

Find out more about the restaurant here

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Modulus Quartet prepare to bring light and sound to Theatreship

Forthcoming Modulation #1 concert will feature moving images alongside contemporary compositions on board Isle Of Dogs floating venue

Modulus Quartet will perform a selection of works – Modulation #1 – in east London - image by Diego Barraza
Modulus Quartet will perform a selection of works – Modulation #1 – in east London – image by
Diego Barraza

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The work of the Modulus Quartet comes with significant, literal depth.

They’ve performed down mines and in natural caves as well as down Sir Marc Brunel’s Thames Tunnel shaft at the Brunel Museum in Rotherhithe and on floating nightclub Thekla in Bristol – taking newly wrought music out of concert halls and into unusual spaces around the UK. 

In July, the ensemble are set to play their first concert at Theatreship on the Isle Of Dogs with the depths of West India South Dock below.

“Our whole project is to champion composers who are writing for string quartet and want to get their music heard – that’s our core ethos,” said Craig Stratton who plays second violin in Modulus. 

“We like to perform in unusual venues to keep that contemporary feel.

“We also feature film in our concerts, which accompanies much of the music and is specific to the pieces we’re playing.

“Rather than having programme notes in the audience’s hands, we also like to showcase the composers themselves on video describing their pieces.

“It gives people a personal connection with the composer – we like our concerts to really be a team event featuring the composers, the filmmakers and us. 

“We rehearse the pieces with the composers before we play them and develop these collaborations and connections.”

Modulus Quartet are set to performa at Theatreship on the Isle Of Dogs - image by Theatreship
Modulus Quartet are set to performa at Theatreship on the Isle Of Dogs – image by Theatreship

Modulus Quartet: a platform for new music

Modulus comprises Craig, Jonathan Truscott on violin, James Hogg on viola and nick Allen on cello, with the ensemble releasing its first album – 12 Seconds Of Light in 2017.

“The four of us have known each other for a few decades, having graduated from music colleges around the world.

“I was in Prague, John was in Romania, Nick was in London and I met James on a course in Vienna in the mid 1990s,” said Craig.

“We’ve all known each other in past endeavours and concerts, but I guess we formed Modulus because we all have a similar outlook.

“We thought: ‘There are plenty of quartets out there playing Beethoven and Mozart, why don’t we play music people haven’t heard?’.

“That way we’ve been able to showcase the work of budding composers and established writers who don’t get enough performance time on stage.”

more than a concert

Modulus are currently working on a second album, Evolutional, set to be released later this year, which includes pieces by Eliot Lloyd Short and Veera Lummi – composers whose work will also be played by the quartet during their first performance at Theatreship – Modulation #1 – on July 18, 2025.

This will also feature music by Nicholas De Carlo, Malcolm Lindsay and Siobhan Connellan. 

“I’ve actually just interviewed Siobhan for the video that will be used as part of the performance and in promotional material in the run-up to the concert,” said Craig.

“We’ll be playing her piece August on the night.

“Another highlight will be a work by South African composer Eliot Lloyd Short – it’s in three movements and is really great, slightly minimalist but music that goes down well.

“Audiences can expect not just to sit down and listen, but to have an experience in an unusual venue with film and composer interaction.

“All your senses will be stimulated in what is an intimate venue – we like to talk to our audiences too.

“We want to build a community of composers and listeners that we hope will turn into something really interesting. 

“We felt Theatreship itself would be a great venue for that and we’ll be doing at least two concerts there, this one in July and another in October. 

“We have plenty of music to show the world and then we’d love to have an ongoing residence at the venue in the future.”

key details: Modulus Quartet at Theatreship

The Modulation #1 programme is set to be performed at Theatreship on the Isle Of Dogs by Modulus Quartet on July 18, 2025, from 8pm-9.30pm.

Tickets cost £23.66 and are on sale now. The second concert, Modulation #2, will take place on October 17, 2025. 

Find out more about the first concert here

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