East London Archives - Page 31 of 43

October 26, 2022October 26, 2022

Wapping: How Wilton’s take on The Wind In The Willows stays true to its source

Venue’s festive production for 2022 updates classic to a modern setting and moves Christmas

Author and playwright Piers Torday at Wilton’s Music Hall

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Piers Torday is no stranger to creating festive adaptations for the ancient boards of Wilton’s Music Hall in Wapping.

The children’s author, best known for The Last Wild series, has brought John Masefield’s The Box Of Delights, Charles Dickens’ A Christmas Carol and last year Elizabeth Gaskell’s The Old Nurse’s Tale (rechristened as The Child In The Snow) to the east London stage.

November 2022, however, sees him go beyond renaming as he and the team retool Kenneth Grahame’s The Wind In The Willows as a modern Christmas show, complete with strikethrough.

The Wind In The ~~Willows~~ Wilton’s takes the original book’s familiar characters, takes them out of the Edwardian period and carries them into the 21st century, with the plot also pulled further downstream into central London.

“We changed the name partly because it was irresistible not to, but also to reflect the fact that this is a slightly different version of the story from one that people may have seen before,” said Piers.

“It’s always been adapted in period dress, full Edwardian, with colourful waistcoats and police in uniforms – and I’ve much enjoyed those versions – but we wanted to bring things up to date a bit to reflect the world we live in and the audiences that we serve at Wilton’s.

“So we’ve not set it down the Thames in Cookham – where Kenneth Grahame lived – we’ve brought it downstream, where the river goes past Wilton’s, and into the heart of London and the City.

“It’s set now in 2022, Mole lives in Hyde Park and we’ve moved the Wild Wood to the financial district, and we’ve balanced the gender make-up so it’s not just chaps having a jolly good time.

“In doing that, however, we’ve remained completely faithful to the spirit of the book.

“When it was written, the book was unbelievably modern – full of stuff about motor cars and the characters having very contemporary adventures.

“Increasingly over time those things have become nostalgic, and the spirit of the book is about being very current.”

In addition to altering some details of the setting, Piers has also shifted the timeline around to reflect the season.

Wilton’s festive show is and update of The Wind In The Willows

“The Wind In The Willows famously starts in spring, with Mole doing his cleaning, but in the book, rather madly, Christmas happens two-thirds of the way through,” he said.

“We’ve rearranged it so that Christmas takes place at the end – we’ve ordered the events more logically.

“I don’t want to give too much away, but it’s still about four friends and I think most people can recognise themselves or their friends in the main characters.

“Toad Hall will still be taken over by the weasels but part of the fun is for audiences to see what we’ve done with it.

“It’s been a huge amount of fun, putting it together – no-one has really updated the story before so it’s been the most brilliant opportunity and we’ve done it with lots of song and dance.

“The original book is actually full of songs woven into the story, so we’ve used quite a lot of those lyrics and written some to complement them.

“What many people also forget about this story is that it contains some of the most beautiful descriptions of the English countryside in literature.

“Kenneth Grahame wasn’t really a writer, as such; he was someone who dabbled in writing and became famous through this book, but he definitely had a poet’s ear for describing our riverbanks, our natural flora and fauna.

“It’s not very dramatic, but we’ve tried to honour that as we tell the story in the age of climate crisis, so it’s going to be full of real bits of nature.

“We’ve tried not to buy anything new, but to use everything, which is as sustainable and low-impact on the environment as possible. It will look spectacular, but it’s not going to cost the earth.”

For Piers, the task of adapting The Wind In The Willows was more than just about creating a festive show.

“I’ve always wanted to adapt it,” he said. “I write books about talking animals and I date my curiosity in that area to my parents reading me The Wind In The Willows.

“Some of the characters I’ve created myself are probably the result of numerous reiterations that started with Mole or Ratty.

“Even if they’ve not read the book, the audience will probably be aware of the idea of irresponsible Mr Toad, grumpy Badger in his sett or the very shy Mole blinking in the sunlight – it’s part of our national culture.

“To bring this London version of the story to life is a real joy.

“I think talking animals are very appealing because they allow children to experience adult emotions without feeling that they’re having to be little adults.

“In the story the animals live in houses of their own, they have their own occupations, they drive cars, they go to the shops, they go to court, so they do adult things – but there’s something enormously childlike about them too.

“They’re larger-than-life characters.”

The venue’s Christmas show is aimed at kids and adults alike

While The Wind In The ~~Willows~~ Wilton’s is not a pantomime, Piers said it had been written to entertain all ages, including some topical references – a challenge given the current political turmoil.

“When I started writing, the character of Toad was irresistibly like Boris Johnson, but those references have all gone, for the moment,” he said.

“It’s not a panto, so it’s not going to be full of up-to-the minute references to the latest thing or celebrity gossip – but it is a Christmas show and they always have an end-of-term-sketch feel about them

“You want to draw people together. It’s very different to working on a normal play. For many, especially young people, a Christmas show might be the only time they will go to the theatre with their parents.

“It’s a family outing, so you have to try to include everyone and it’s Christmas so you have to remember people are there to have a nice time.

“To do that you have to have stories and jokes that operate on many levels.

“Children will see the show as a battle, a story with funny scenes of Toad getting cross and losing something, but there may also be references for adults about the cost-of-living crisis or whatever else is going on, to make them feel they’re included in the story too.

“While it’s absolutely terrifying to work on something like this because you can see how it’s received every night, it’s also a great privilege to see those responses.

“Theatre is irresistible and thrilling because it is something that happens in the moment. That experience – when someone makes it work – is the most special one you can have.”

The Wind In The ~~Willows~~ Wilton’s runs at Wilton’s Music Hall from November 24 to December 31, 2022. Performance times are 7.30pm with Saturday matinees at 2.30pm. Tickets start at £13.

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

October 26, 2022October 26, 2022

Canary Wharf: Why M restaurant is serving up greens grown by Crate To Plate

Isle Of Dogs’ facility can produce all year round with 95% less water than traditional farming methods

M's Mike Reid and Crate To Plate's Sebastien Sainsbury — M’s Mike Reid and Crate To Plate’s Sebastien Sainsbury – image Matt Grayson

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It turns out there are two farms on the Isle Of Dogs.

Mudchute is filled with rare breeds and is a favourite spot for residents (and the occasional Wharfer) to take a restful stroll among the sheep and llamas.

The other, however, is much less obvious.

Built inside three shipping containers sat in a brick-walled car park, just off Westferry Road, locals can easily be forgiven for not knowing Crate To Plate is there at all.

But packed inside its metal boxes are racks of hyrdoponic tech, carefully calibrated to grow crops in nutrient-rich water under LED lights.

The business supplies restaurants in London and also grows produce at sites in Stratford and Elephant And Castle.

Its Isle Of Dogs containers make it, almost certainly, the closest producer of ingredients to Canary Wharf.

That means delivery times and mileage are negligible and Wharfers eating dishes created from its ingredients are consuming some of the freshest products available.

One restaurant that’s making the most of the facility is recently opened M restaurant – located on the lower floors of Newfoundland tower.

M's Crate To Plate Salad, £7.50 — M’s Crate To Plate Salad, £7.50

Owner Martin Williams and executive chef Mike Reid are both big on sustainability and cutting waste. The restaurant proudly works to assess and minimise its impact on the environment.

The steaks it serves are carbon neutral, thanks to a partnership with charity Not For Sale, which offsets their impact through reforestation projects in the Amazon and helping to protect local people from modern slavery.

Order M’s Crate To Plate salad as a side and you’ll be dining on leaves grown less than 20 minutes’ walk away, in the mix.

“It’s as fresh as it can be, as close from farm to plate as possible, and that’s so rare – it’s a privilege to have that in Canary Wharf,” said Mike, who did a degree in business and marketing before apprenticing as a chef and going on to work with the likes of Gordon Ramsay and Michel Roux Jnr.

“Sustainability has become more of a focus for us in the last five years and it’s always been part of my philosophy as a chef.

“You want to cook as sustainably as possible and use as many local ingredients as you can, which has always been a challenge at M because it’s a brand that showcases international food and flavours.

M executive chef Mike Reid in one of the containers – image Matt Grayson

“Now it’s about how we interpret that, about the relationships we have with our suppliers and building partnerships.

“Crate To Plate is probably the perfect example of that. We create dishes with their produce in mind and at other times they grow things speculatively. It’s very much a collaboration.

“I try to visit the farms as much as I can and the last time I was here they had the most beautiful wasabi flowers.

“Normally you’d only get them five weeks a year, but here they grow all year round.

“It’s one of my favourite flowers to cook with, because the flavour is literally a punch in the face, but in the most subtle and beautiful way, and they’re gorgeous.

“To have that available all year long is incredible.

“You’re not beholden to the seasons, so you can keep dishes on the menu with ingredients that are not impacted by the weather.

Crate To Plate founder and CEO Sebastien Sainsbury – image Matt Grayson

“From a chef’s point of view, we chase consistency more than perfection and Crate To Plate’s products are phenomenal.

“For me the flavour’s better too – there’s no pesticides, none of the nasties and the lettuce, for example is crispier and the taste fresher.

“It’s vegetables and herbs the way they’re supposed to be – whatever you’re tasting in the supermarket, times it by 10.

“When I first came to visit the farm I wondered if I was in the right place, but this is pure genius.”

Mike’s words will be music to the ears of Crate To Plate founder and CEO Sebastien Sainsbury.

Part of the dynasty that created the supermarket chain, he spent time as a banker with interests in hospitality, before turning to vertical farming in urban environments as a way to help tackle some of the world’s problems.

Crops are started as seedlings and then planted into vertical farms – image Matt Grayson

“When I was in banking in 2007, I did research on food security and population growth because it really concerned me where our food was going to come from,” said Sebastien.

“If the number of people in the world kept on rising as predicted, it would mean the end of organic food

“That remained in the back of my mind and in 2015 I was at Expo 2015 in Milan where I saw a hydroponic farm.

“It’s not a new idea, it’s been around for thousands of years – think of the Hanging Gardens Of Babylon – and there are people doing it all around the world, but what’s changed is the technology.

“We don’t even use the term hydroponic any more, even since we installed the three farms on the Isle Of Dogs in 2020 – Crate To Plate is really ‘controlled environment agriculture’.

“Every aspect of each plant’s growth, from the amount of light it gets to the light wavelength recipe, the nutrients in the water, the watering schedule, the ambient temperature, the humidity and even how long the lights are on or off – because plants need rest – is very closely monitored and regulated.

“It’s all automated, bar seeding, transplanting and harvesting and that’s just where we are today.”

The company’s model not only allows it to place farms close to its customers, minimising transportation, its technology means it uses approximately 95% less water than traditional farming methods.

It hopes to cut that to 99% with newer root-misting systems – crucial in a world where natural resources are destined to become increasingly scarce.

The plants are then grown hydroponically and harvested – image Matt Grayson

Crate To Plate can grow produce year-round to order and is unaffected by the weather. Its systems are not immune to problems, but these tend to be ones of maintenance rather than the lottery of droughts and floods.

“Farmers are suffering and they will suffer, but not because of us,” said Sebastien. “It’s because of climate change.

“We consume about 18million heads of lettuce a week in Britain and farmers supply about 90% of that, which means there’s still 1.8million being imported.

“In 2018, for example, we had the longest heatwave for 40 years and crops were all lost. Droughts are just as bad.

“With us, restaurants can give us an estimate of what they’ll need and we grow that for them, planting varieties that create less waste – flatter romaine lettuce, for example, for burgers so restaurants don’t throw out the middle of a baby gem.

“Our head of farming, John Sticha, spent about four years doing research and development in a container in the US to find the right plants – we tried more than 220 varieties, a dozen Genovese basils and more than 14 different types of lemon basil.”

The company’s drive to improve is relentless, with new tech emerging all the time. Its next project is a plan for a bigger, fully automated farm in Royal Docks

“When I was a banker, I was on the right, but now I’m on the left – I’m all about social responsibility,” said Sebastien.

“People laugh when I do nothing but talk about lettuce, which I knew nothing about five years ago. Being a vertical farmer is fun and it’s productive.

“We’re growing stuff that people are loving – sometimes it blows my mind how positive people are about our produce. I’m not a young man any more, but I feel completely regenerated.”

With all that extra energy, who’d bet against a robot vertical farm in east London?

A Crate To Plate lettuce ready for the table – image Matt Grayson

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

October 16, 2022October 18, 2022

Wapping: How Northeastern University London is set to grow at St Katharine Docks

Expansion is on the agenda as seat of learning prepares to launch dually validated degrees in 2023

Northeastern University London is based at Devon House in St Katharine Docks

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“I want studying here to be filled with new experiences, meeting people and fun – a place which our students will remember as one where they grew intellectually, socially and personally and which allowed them to have choices,” said Rob Farquharson, CEO of Northeastern University London (NU London).

Founded in 2012 by the philosopher and writer AC Grayling as the New College Of The Humanities (NCH), the institution has been through a period of growth and development in a relatively short space of time – not least its arrival at St Katharine Docks.

In 2019 it was acquired by Northeastern University, an American seat of learning based in Boston, but with 11 regional campuses in the US and a clear mission to expand globally.

Then in 2020, NCH was first granted the right to award its own degrees and then to legally call itself a university – both after lengthy assessment processes.

Having outgrown its original premises in Bloomsbury, in 2021 it moved to Devon House – a modern warehouse-style building on the banks of the Thames overlooking Tower Bridge.

It’s an apt location on the site of the historic Bull’s Head pub where it’s not impossible to imagine thirsty Brits finding refreshment as they prepared to emigrate to America over the Atlantic from the nearby docks.

Today, NU London’s presence represents fresh connection between the area and the US, as it looks to the future with the sensitive retirement of the NCH name.

Northeastern University London CEO Rob Farquharson

“Boston and London are the two pre-eminent seats of higher education in the world,” said Rob.

“One of Northeastern’s key drivers is international expansion – being able to offer its students and staff a global experience.

“You have to connect with the world and understand it to make a positive impact and Northeastern doesn’t want to be constrained by a single location.

“We’re the first campus outside North America, but I can guarantee we won’t be the last. Northeastern wants to have a global student body and to give people the opportunity to study in different locations and experience different cultures – you need to have that physical presence on the ground to facilitate that.

“We moved to St Katherine Docks for more space and we’re just about to take another building here for use as office space so we can grow even further.

“We’ve added a lot of non-humanities, non-social science subjects to the ones we already teach – we now offer courses in business, engineering, chemistry and physics, for example.

“There’s a big emphasis on artificial intelligence, partly because that bridges the history we have in humanities and the strengths Northeastern has in Boston, such as computer science and data science.

“At the moment we have about 1,200 students in London and we aim to have about 1,500 by the end of the year.

“In September 2023, we’ll be launching dually validated degrees, which we’re very excited about. It means students will be studying for degrees that are accredited in both the UK and the US.

“The structure for those at the moment is that in the second semester of the second year, students will have the option to study in North America – in Boston or at a West Coast campus, although it’s not compulsory.

The university boasts extensive facilities at Devon House

“Students will also be able to do a fourth year in the US as their degrees tend to be four years and there will be an option to do a masters there too.

“One of the reasons we need more space is so we can create facilities such as wet labs for students who want to come over here from the US to study as part of their course.

“We won’t be able to cover the full range of courses they have in Boston, but we do want to allow students to have some time in London and we want to be able to support them.”

At present, NU London offers undergraduate degrees, masters degrees and apprenticeship courses designed to help businesses develop their workforces.

NU London is also eager to play its part in the local community as it grows and expands its offering, whether that’s welcoming local residents on its degree courses or helping others gain new skills.

“We have students with us who are residents of Tower Hamlets, but we’re keen to get local people from all the boroughs around here and we want to be a valued member of the community,” said Rob.

“If anyone has any ideas how we can do that, then we’re more than happy to hear from them.

“One thing that we do is work with the GLA and the Department For Education to run free digital boot camps. These are open nationwide, but we’re particularly keen for local residents to join.

“The next one starts in January and it’s a 13-week programme for people aged 19 and over, to help them understand a bit more about the digital skills they may need for a career or a new or different job.”

The boot camp is run in partnership with cloud platform ServiceNow, which counts government agencies, prominent consultancies and major brands among its clients.

“We love being here at St Katharine Docks,” said Rob. “It’s a little oasis – close enough to the busy areas of the City, The Highway and Commercial Road if you want to go there, but quiet so you can study.

“We feel we’ve become part of the community but hope to go further still.

“One of our key priorities is widening participation, to make sure that under-represented groups have the ability, the ambition and the understanding to be able to go to university.

“We have staff whose job it is to spread the word locally.

“They visit primary schools, secondary schools and colleges in Tower Hamlets and other boroughs to demystify university – especially for those whose family members have not been.

“We want them to know that they can come here, meet a diverse group of people and have choices.

“Some might want to make money in financial services while others might want to be social workers.

“What we want is to give them the ability to make those choices.

“Once they are here, we have a careers team that supports students from the practical side of things – writing CVs and interviews – through to clubs and societies.

“We’ve just launched an entrepreneur club, which will bring in recent graduates who have started businesses as well as people from funding organisations.

“We also have programmes which give students an idea of how businesses work. Your passion might be English Literature, but it’s useful to know other things as well.

“You may want to be an English professor, but that involves working at a university, which is a business that pays people and spends a budget – It’s about having that depth.”

NU London is set to host an open day for prospective students on November 26, 2022.

NUL is expanding its offering as it prepares to launch dual UK and US degrees

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

October 16, 2022October 16, 2022

Canary Wharf: How money from BGC Partners’ Charity Day funds good causes

Having raised more than $192million between 2005 and 2021, we talk to one of the funded charities

Sadie Frost at the BGC Partners Charity Day - image James Perrin — Sadie Frost at the BGC Partners Charity Day – image James Perrin

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Each year financial services firm Cantor Fitzgerald and its affiliates BGC Partners and GFI Group give away 100% of their global revenues to good causes.

The event is held in memory of the 658 friends and employees of Cantor and 61 Eurobrokers, who were killed in the September 11 terrorist attacks on the World Trade Centre in 2001.

Since 2005 – and not including this year’s efforts – Charity Day has generated $192million, distributed to more than 150 charities.

Celebrity patrons of these organisations are invited onto the businesses’ trading floors, including BGC’s offices in Canary Wharf’s Churchill Place to close deals over the phone and raise awareness of the causes they’re representing.

This year’s participants in London included football manager Sam Allardyce for Muscular Dystrophy UK, former footballer and pundit Rio Ferdinand for Wellbeing Of Women, TV presenter Amanda Holden for Battersea Dogs And Cats Home and Love Island presenter Laura Whitmore for Choose Love – an organisation that provides aid to and advocacy for refugees around the world.

But what does the day really mean to the organisations that participate?

For the Sir Hubert Von Herkomer Arts Foundation, which works to inspire and equip children with the tools they need to develop and pursue lifelong artistic passions, it’s a lot.

Its courses at after school clubs and in school holidays cover disciplines such as street art, photography, film making, music, sculpting, drama, songwriting and poetry.

They are all funded through donations and via fundraising events.

Two of its ambassadors – actor and producer Sadie Frost and actor Damian Lewis – attended BGC on its behalf this year, a day that is crucial to its ongoing operations.

Rio Ferdinand works the phones at the event - image James Perrin — Rio Ferdinand works the phones at the event – image James Perrin

“We get a huge amount in funding from it in comparison to what we get in grants,” said Debbi Clark, a professional photographer and co-founder and CEO of the foundation.

“We don’t know exactly how much we’ll be getting until the following year, but last year it was about a third of our total income of around £160,000.

“We did so many things with that money – we made a short film during Covid, a project that continued as we came out of the pandemic.

“We made a book and we also supported 80 children every day over the summer to help them discover the arts.

“We’ve run a music mentoring project that is supporting kids at risk from grooming and gangs, and that’s becoming a hugely successful programme.

“We also do a band jam for kids who can’t afford to buy instruments, that’s held every Saturday.

“We work on a grass roots basis, project-by-project, so having the money from the Charity Day is a massive help because it enables us to plan what we’re going to do.

“We work mainly with children in Camden, but have done a project in Deptford as well and last year we were able to support an extra 255 kids throughout the 12 months.

“All the money we receive goes on our projects so we can help disadvantaged and vulnerable children.”

The foundation is named in honour of the work of Sir Hubert Von Herkomer, an artist, playwright, actor, composer and film director known for his social realism and founding an art school in Bushey that encouraged students to ignore conventions and develop their own individual talents.

In 2011, Debbi and her husband, Mark Von Herkomer (Sir Hubert’s great grandson), set out to create a charity that celebrated his approach, resulting in the foundation.

Debbi Clark of the Sir Hubert Von Herkomer Foundation

“Our programmes give kids access to projects that they would never be able to afford to participate in otherwise,” said Debbi.

“For example, we do photography and Olympus sponsor us and send cameras so the kids get to use SLRs and different lenses.

“Our courses are free, so it’s giving kids opportunities that they should be getting at school but aren’t.

“I think that the arts are one of the most beneficial things you can teach, because it really does accelerate a child’s growth. In my opinion creativity empowers confidence and collaboration.

“They’re building new friendships and can say: ‘I’m a photographer’ working with proper equipment.

“It’s about putting them on the same platform as everybody else, so when they do leave school, they feel able to hold their own.

“All of this stuff is building up their confidence and putting them on an even keel.

“Four years ago they hadn’t seen a camera.

“Now they’re coming back with creative ideas – I’m really proud of them.

“I have always suffered with anxiety and I think that creativity saved me. When I did find my art, I felt free, it was a whole new world.

“Being able to be creative is so important for mental health and that’s why these donations matter. The arts are so important for the next generation – they give people freedom and that’s a beautiful thing.”

The foundation has also developed the McCrory Award in memory of its patron, the actor Helen McCrory, who died from breast cancer in 2021.

Laura Whitmore attends the event - image James Perrin — Laura Whitmore attends the event – image James Perrin

Debbi said: “We did this for my dear friend Helen, awarding three 14-year-old scholars funds to support them with one-to-one mentoring and a bursary to pursue their chosen field.

“On a wider level we’d love to expand what we do, but that means we need to find more funding.

“There’s a real need for the work we do. In Camden, for example, there’s a lot of knife crime and we see it first hand.

“We know which of the kids we see are at risk, the ones who are being groomed by gangs and we do everything we can to make sure everybody’s safe.

“Work like this opens up other avenues for people.

“A group who came for the first time two years ago were swearing and going outside for a smoke.

“We got some really cool people in to participate in their project and they became a bit empowered.

“The kids wanted to come to the sessions because they were really cool.

“Then they stopped swearing, they stopped being rude and started to have some respect for themselves and those around them.

“Some of those kids are now working in good jobs.

“I’ll be honest, it doesn’t work for everyone – but it does work and the money we get to do these projects is vital for that.”

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

October 13, 2022October 13, 2022

Isle Of Dogs: Why nitrous oxide use can lead to damage to nerves in the spinal cord

Queen Mary University Of London professor and students launch awareness campaign about risks

Nitrous oxide use is widespread in Tower Hamlets and east London

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How do you feel about your nervous system?

How do you feel without your nervous system?

Jokes might seem appropriate here – after all, this article is about laughing gas.

Nitrous oxide, which comes in canisters of various sizes, is sold ostensibly for use in the baking industry as a means of creating robust whipped cream.

You have to be over 18 to buy it, but there are few practical obstacles to obtaining large quantities.

That’s perhaps why the gas is now also the most popular recreational drug for those aged 16-24. The effect of inhaling it – typically from a balloon – is described as a rapid rush of euphoria and a feeling of floating or excitement for a brief period.

Fits of giggles and laughter can also occur, hence the nickname.

Anyone walking around the Isle Of Dogs or east London will have seen multiple discarded canisters. It took me five minutes to find some to photograph for this piece.

A quick search on Google reveals a number of “baking websites” that subtly embrace a new found source of revenue, offering text alerts for discounts on cream chargers and next-day delivery for those who need their ingredients quickly.

Users have little trouble getting their hands on the canisters locally and antisocial behaviour associated with its use led to Tower Hamlets Council bringing in a Public Space Protection Order (PSPO) covering the whole borough last year.

This allows officers to issue fixed penalty notices of up to £100 or launch prosecutions with fines of up to £1,000 for using the drug and engaging in behaviour such as littering, noise nuisance and vandalism.

Since the PSPO came into force in April 2021, there have been 125 enforcement actions taken by officers, including a man who was fined £400 in court after failing to pay a fixed penalty notice.

The council says tackling use of the gas is a priority and that its enforcement officers regularly patrol the borough and take action against those using it.

It is also looking into boosting awareness around the dangers of inhaling the gas and the antisocial behaviour it can lead to.

Nevertheless, widespread nitrous oxide use continues locally. That may partly be because there’s a perception the gas is safe for recreational use.

This ignores the very real danger of inhaling the stuff directly from a canister, which can lead to a spasm in the throat that stops the user breathing.

More worryingly, there’s emerging evidence that use of nitrous oxide is leading to spinal injuries.

A steep rise in cases observed by Alastair Noyce, professor in neurology and neuroepidemiology at Queen Mary University’s Wolfson Institute Of Population Health, led him to launch a campaign this year to educate teenagers on the neurological risks of using the gas.

N20: Know The Risks is being led by students in the university’s Public Health And Preventative Medicine Society – supported by Professor Noyce – and has started to deliver sessions in Tower Hamlets through youth groups and housing associations.

Queen Mary University student Devan Mair is leading the campaign

Fourth year medical student Devan Mair, who is leading the campaign, said: “Our campaign focuses on the neurological dangers of taking nitrous oxide because they’re not very well known.

“This substance is a colourless gas which people inhale into their lungs.

The way it creates a high is to deprive a user’s brain of oxygen for a few seconds – it’s a very short high.

That in itself can create a risk, because people who do it a lot have been known to pass out and faint.

“The neurological risk is to do with the gas’ effect on the spinal cord – the clump of nerves running down the centre of the back that is connected to branches all the way around the rest of the body.

“Users of nitrous oxide risk damaging the myelin sheath – an insulating layer that forms around nerves made up of protein and fatty substances that allows electrical impulses to transmit quickly and efficiently along the nerve cells.

“Symptoms can include feelings of weakness, problems with balance, difficulty in walking or an inability to walk at all, constipation, urinary incontinence, pins and needles and in some cases a feeling like an electric shock going up the back.”

These problems stem from nitrous oxide’s ability to interfere with the body’s absorption of Vitamin B12 – a nutrient essential to a healthy myelin sheath.

The rise in cases has become so severe that Professor Noyce and local colleagues in east London are now working with neurologists around the country to establish the first national guidelines on treating nerve damage linked to laughing gas.

He said: “We are seeing more patients than even a year or so ago, and often the cases are more severe.

“We used to see people with tingling and numbness in their legs or difficulty walking, but this year we’ve had several people who literally can’t walk at all when they come to hospital.”

It’s cases such as those that have galvanised Devan and his fellow students into action.

“My motivation in getting involved is that I wasn’t aware of the risk until I was told about it – it’s something people simply don’t know,” he said.

“After school I did a gap year, working in special educational needs, so I got a taste for working with young people.

“We’re not here to lecture or scare anyone – we want to empower people with knowledge of the risks of nitrous oxide, to inform them if faced with the decision to take balloons, so they can make educated choices.

“If they’re presented with the evidence, they can make decisions for themselves.

“Our campaign has two main ways of raising awareness.

“Firstly, there’s social media – we have accounts on Instagram and Twitter where we provide infographics aimed at young people to explain what’s happening and how to get help.

“We also run interactive sessions where we deliver activities in a fun and engaging way – we don’t do too much talking but get people involved to help them understand what could happen in their bodies and why the damage is taking place.

“We also give people cards with the acronym NERV on – ‘N’ for notice the symptoms, ‘E’ for emergency help, ‘R’ for replacement of vitamin B12 and ‘V’ for value your health.

“We need this campaign to constantly be there because the problem isn’t going away. We’d definitely like to roll it out over a wider area – it’s just students here at the moment, so it’s quite small – we would like to make it bigger.

“It’s definitely something that’s relevant. In June we had two days at an event in Tower Hamlets where we collected data from 246 people – 97% said it was the first time they’d heard about nitrous oxide causing spinal damage and 86% felt confident after our session that they could tell their friends about the risks.

“We feel what we do works, now we want to grow it to reach more people.”

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

October 13, 2022October 13, 2022

Royal Docks: How Roxanna Lyssa is serving up Good Vibes at Royal Victoria Dock

Cafe at Expressway aims to offer customers more than just Perky Blenders coffee and hot toasties

Perky Blenders X Good Vibes at Expressway – image James Perrin

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BY LAURA ENFIELD

If Sadiq Khan is looking for a London-made caffeine fix near his new base at The Crystal by Royal Victoria Dock, then he’s in luck.

All he needs to do is pop next door to Expressway and visit the hatch at Perky Blenders X Good Vibes.

The takeaway cafe serves coffee roasted up the road and is a collaboration between a Walthamstow-based roastery and entrepreneur Roxanna Lyssa.

You’ll see her behind the counter most days serving up lattes, toasties and cakes, and following in the footsteps of her grandma who served coffee and tea to dockers in the 1930s. We lured her away from the grinder to find out more.

past vibe

I stepped away from a 15-year career to re-evaluate where I was going and got a part-time job as a barista with Perky Blenders.

Six months later, in November 2019, a franchise opportunity came up, so I put together a business pitch for Good Vibes. We launched in June 2020

I worked in visual merchandising and product management for Lacoste UK previously, which was a fantastic part of my life and I acquired so many transferable skills. I started that career on the sales floor and progressed to head office.

But after 15 years, I wanted to go back on the frontline and do something on my own. I just wasn’t sure what.

A coffee shop was never in mind, but life seemed to push me in this direction. I got into coffee because I love the product.

My background really helps with what I do now. Small details all add up to the overall impact. I appreciate the importance of storytelling.

I hope that, when we’re engaging with our customers, they feel part of the journey and understand what we sell and why we sell it.

Roxanna Lyssa of Good Vibes – image James Perrin

Perky vibe

Because they knew me and my background they trusted me to establish the coffee shop under my own brand identity.

As long as I serve the coffee to their standard and respect their brand guidelines, they’ve let me run with it.

present vibe

I’m pleased to say that, two years down the line, we’ve created a community and I do think we’ve got good vibes.

We’re known for being that authentic, open-minded spot where people can be themselves and talk about what they want or order whatever kind of coffee they want. We’re not going to judge.

It’s not just been about the coffee and the food, it’s also about the people. I love interacting and chatting and seemingly that’s my strong point. I’m known for my banter.

Royal Docks vibe

I wanted to drive culture and I could really see the potential for that in the Royal Docks with all the regeneration that’s happening here.

I grew up in east London but hadn’t been here before, so when I found out you can come to the docks and ride a cable car, go open water swimming or try wakeboarding it blew my mind. It was pretty surreal to find that in London.

Good Vibes has just embedded itself in that. We do offers for the swimmers and for the wakeboarders because we want to be seen as part of the framework across the dock – we’re all in this together.

The cafe serves up Perky Blenders' speciality coffees — The cafe serves up Perky Blenders’ speciality coffees – image James Perrin

coffee vibe

In the office I was a person who had their own ground coffee and French press on the desk.

I’ve always loved and respected coffee and now, doing this, I think I’ve found a bit of mad scientist in me.

There are so many variables that you can control or manipulate in order to determine the end product – the temperature of the water, the extraction time, the grind size.

We sell a range of up to six different blends or single origins at a time. We also do drip coffee so we serve incoming blend on our espresso.

But then we’ll feature single origins or coffee-of-the-month blends on our drip coffee.

The venue offers a range of food options – image James Perrin

food vibe

We are supplied by The Bread Station in Hackney and Cakesmiths in Bristol. We sell croissants – almond, chocolate, raisin and buns – cinnamon, cardamom, hazelnut and vegan cakes – banana chocolate, carrot cake, blueberry Bakewell and chocolate brownie.

For lunch we’ve become known for our toasties. We use organic sourdough bread and fillings like chilli jam and spinach, tuna melt, chicken and avocado. I do really good homemade guacamole.

The secret is choosing the right ingredients and making it with love, care and also consistency.

I’m a stickler for guidelines, because I was setting rules for the whole country at Lacoste. Customers getting what they expect to receive is so important to their experience.

We also do Brick Lane bagels with fillings including vegan cream cheese and, going into winter, we’ve added jacket potatoes and soups from Leyton-base Zuppe in flavours like sweetcorn and coconut chowder, smoky roasted tomatoes and peppers and red lentil dhal.

natural vibe

I try to avoid any sort of artificial colours, flavourings, emulsifiers and additives. You won’t get a caramel latte in my coffee shop.

I’m really against anything artificial and what’s good with a food and drink business is that you can encourage wellbeing through what people consume. You can educate people and advise them on how they can enhance their wellness.

Sweet treats from Cakesmiths at Good Vibes – image James Perrin

caring vibe

During lockdown I had a lot of residential customers coming over who would sometimes spend 30 minutes chatting to me because they were trapped in their flat all day without anyone else to see.

It’s not just physical wellness you can help through a coffee shop – it’s also mental health because that small transaction and a few minutes can actually change someone’s mindset.

You can make someone feel better about themselves or you can take them away from the stress of the phone or their computer.

I’ve really tried to build a coffee shop that is more than just a cafe – to make it a place where people can come to connect.

personal vibe

I’ve definitely suffered with anxiety in the past. Being in the corporate world with higher responsibilities, you do get to a point where things just become too much. It built up over time.

I think there was a point where my to do list was three A4 pages and it was never going to be completed.

I never had a feeling of accomplishment. Now, when I’ve made a lovely cup of coffee and handed it over, I do feel a sense of achievement.

I don’t know what changed, but I just couldn’t do it anymore. I needed to slow down and find myself, because I started working there when I was 18.

It was my first job and I’d always been Roxy at Lacoste.

Suddenly, 15 years later, I was like ‘Who is just Roxy?’. I think I’ve found her now and Good Vibes is my happy place.

spreading vibe

We do wellness workshops with Yoga and meditation called Vibe And Flow. I’m due to start an event series from November, which is exciting, because it goes back to that idea of creating a culture.

Expressway has got 200 businesses in it, so the range of people that I get to meet and collaborate with is unreal and I’m just trying to connect those dots.

We also spread the love by selling products from my customers like Beinsense in Royal Docks and England Preserves in Bermondsey.

Going into Christmas I run a campaign called Give The Gift Of Local.

future vibe

All my costs have gone up significantly this year. I got through Covid and thought ‘I can survive anything’.

But then we came into this year and people are spending less money and we have fewer customers. It then makes operations very difficult because I’m running a very tight ship.

But I’m still here, still working. I’ve got myself going in the right direction and I just want to try to grow the community aspect and collaborate with the people that I’ve got to know to see how we can all try and do better with what we’ve got.

My brand tagline is: ‘Make waves to change the tide, not dominate the ocean’. I was never trying to come in and take over or be on top of anyone or be better than anyone.

Good Vibes is about trying to change direction for people, show them a different way and just contribute to something positive.

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

October 12, 2022October 12, 2022

Canary Wharf: How the Boisdale Music Awards act as a showcase for the venue

Event celebrates the breadth and quality of talent that graces the Cabot Square restaurant’s stage

Boisdale Music Awards hosts Jools Holland and Yolanda Brown

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Boisdale Of Canary Wharf recently hosted its annual music awards, with a roster of 14 honours for individuals and groups presented.

While the event recognised the talents of the winners and brought together a diverse crowd in celebration – where else can you see Black Sabbath’s guitarist casually chatting with actor and crooner Hugh Laurie? – it perhaps best served to draw attention to the breadth and quality of the artists Boisdale regularly draws to its stages in Canary Wharf and Belgravia

Effervescent owner Ranald Macdonald plus hosts Jools Holland (patron of music for Boisdale) and boisterous jazz saxophonist YolanDa Brown, presided over the proceedings including awards for the following:

Tony Iommi

Lifetime Achievement Award

As co-founder and the only constant member of ground-breaking heavy metal band Black Sabbath, Tony’s contribution to music alongside Ozzy Osborne, Bill Ward and Geezer Butler is well documented.

Their work includes genre-defining releases such as their eponymous first album and its follow-up, chart-topper Paranoid, named for the song that remains their only UK top 20 single.

Having lost the tips of two of his fingers in an industrial accident at the age of 17, he was inspired to keep playing after listening to a recording of guitarist Django Reinhardt.

After being told the gypsy jazz great was only using two digits having been injured in a fire that left two of his fingers paralysed, Tony redoubled his efforts, going on to make musical history himself.

He said: “Getting this award feels lovely. I’ve got five lifetime achievement awards now, but it’s great – I think any recognition is fantastic, I love it.

“Music is a different way of life now to when we started. I’d always say, get a lawyer and then get going, to those beginning a career now.

“My real advice though would be to love what you’re doing, enjoy it and then whatever else comes is a bonus. You have to enjoy what you do.

“Paranoid the song was on the second album – we’d had the first one, which was in the charts for a long time and then we did Paranoid, which went to No.1.

“It was a throwaway single but it got to No. 4 – we didn’t have enough songs for the album and the producer said we needed another one, just a short track.

“I came up with this idea, then we played it and recorded it in a few minutes and that was that.

“The whole thing about this business is about believing in what you do. I have always believed in what we do and that’s why we’ve been around a long time. It’s because we don’t change from what we love.”

Cleveland Watkiss

Jazz Artist Award

Hackney-born singer and composer Cleveland was named best jazz artist for 2022. Having studied at the London School Of Singing and subsequently at Guildhall School Of Music And Drama, his career took off in the 1980s as a member of the Jazz Warriors with the likes of Courtney Pine and Dennis Rollins.

He has since gone on to work with a diverse and varied collection of artists including The Who, Bjork, Bob Dylan, Art Blakey, Wynton Marsalis and Robbie Williams, to name just a few.

Cleveland said: “It’s always good to feel that your art and your work is appreciated. These awards are really encouraging, they give you a lift – especially in these tough times.

“It’s my wish and desire to keep performing and this award is just more encouragement to keep doing what I do.

“You know that saying – give people their flowers while they’re alive? Well not everyone gets those flowers, so I want to dedicate this to some of the people who inspired me coming up.

“There were a few people who passed away during the pandemic including my aunt, whose funeral I wasn’t able to attend because of Covid. She was like a second mother to me.

“She was one of these people who regardless of the situation would have a positive outlook on life. She was always encouraging us when we were growing up.

“I lost my father when I was nine and I stayed with her as a kid.

“She was always inspirational and, even though she suffered with illness, she’d lift you up.

“There’s other people too like Ray Carless, a fantastic tenor saxophonist in the community in Hackney where I grew up.

“He recently passed away but he was such an icon in terms of the work he did in east London and beyond.

“He was a hugely celebrated musician who played in some of the most iconic jazz bands in the UK. We’d be here all day if I sat here and named them – top artists like Adele and Elvin Jones.

“Ray was a big inspiration to me when I saw what he was doing. I watched him at Ronnie Scott’s when I was in my late teens and I thought: ‘Wow, if he could do that, playing with one of the greatest musicians in the world – Elvin Jones, who played with John Coltrane – then maybe I could too’.

“I want to dedicate this to people like that – people who never really got their flowers when they were alive.”

Gina Larner

Best Up And Coming Artist

Brighton born singer songwriter Gina is set to release her first and, as yet, untitled album later this year.

She said: “It feels really good to win. I sang Heavy Heart, the first single from my new album, which should be out in a few weeks.

“I sing and write Americana and country pop.

“People often see the pink hair and assume punk, but I’ve just loved Americana and country since I was a kid – I really like Stevie Nicks, KT Tunstall and Kacey Musgraves and I listen to a bit of Dolly Parton too.

“I’ve been writing for a long time – don’t get me wrong, my songs were shit originally, 14-year-old me did not write bangers – now, hopefully, 24-year-old me is writing better songs.

“I like to think what I write is very honest – that’s what I aim for.

“I’ll be back at Boisdale supporting KT Tunstall when she plays here on November 11.”

KT Tunstall is set to perform at Boisdale on November 11

3 DIARY DATES FOR BOISDALE OF CANARY WHARF

GIG – The Blackbyrds

Oct 25-29, 9pm, from £24

Audiences can expect jazz-funk and r’n’b from The Blackbyrds, who are set to play five nights at Boisdale Of Canary Wharf in October. Assembled in the mid-1970s in Washington DC by legendary trumpeter Donald Byrd, their output has been sampled by everyone from De La Soul to Massive Attack.

GIG – Mica Paris

Nov 3, 9.30pm, from £49

The UK Queen Of Soul is set to bring her velvety vocals back to Canary Wharf. Known for hit singles including My One Temptation, Breathe Life Into Me and Where Is the Love, audiences can expect a track or two from her critically acclaimed album Gospel, released in 2020.

GIG – KT Tunstall

Nov 11, 9.30pm, from £75

Known for Suddenly I See and Big Black Horse And The Cherry Tree, the Scottish singer-songwriter returns to Cabot Square with support from award-winner Gina Larner.

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

September 30, 2022September 30, 2022

Bromley-By-Bow: How Bow Arts has found its forever home at Three Waters

Charity founder and CEO Marcel Baettig on the importance of providing space for artists

Bow Arts founder and CEO Marcel Baettig – image Matt Grayson

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BY LAURA ENFIELD

When the mini budget was announced last week, charities were left mostly empty-handed. It is a scenario Marcel Baettig, founder and CEO of Bow Arts, is well used to.

For the last 27 years, he has worked to generate the means to provide affordable workspaces and steady incomes for artists in Tower Hamlets.

Along the way, the charity has missed out on grants to help buy property, survive Covid and pay energy bills.

But it has thrived through a model that allows it to offer subsidised rents to artists and employment in creative projects for schools and community groups.

It has grown from supporting 50 artists to 500 and from one site – its headquarters in Bow Road – to operating in 15 locations spread across London.

Until now, it has only rented space.

But after more than two decades it has finally entered a new era with the purchase of its first building – on the ground floor of the Three Waters development at the meeting of the River Lea and Limehouse Cut canal.

“I’m absolutely thrilled,” said Marcel, a trained sculptor who established the charity in 1994.

“This secures our future. The aim has always been to use the income we generate from our buildings to support creative community services, like work in schools, public art galleries and different sorts of events.

“We have been very unlucky with our timing.

“When we grew and property was affordable, there were grants around for organisations like ours to help buy buildings.

“But we were just a bit late and all the money had been given out.

“So we’ve had to be very steadfast, slowly save our pennies and get ourselves into a position where we could afford to buy something.

“We’ve eventually managed to do that through the partnerships that we set up about five or six years ago with housing association Peabody.”

Nine months ago, it approached Bow Arts to create a permanent creative space on the ground floor of the scheme – a joint project with developer Mount Anvil – as part of its community contributions.

“We had been trying to buy something for a long time,” said Marcel.

“It’s the only way we can maintain low rents for artists and guarantee support for them in the future. If we have a landlord, they can put the rent up and then, so would we.”

The 57-year-old was inspired to set up Bow Arts after his own struggles as a sculptor.

He said: “I had quite a successful career but the trouble with this type of work is that it’s project-based and when you get to the end of that bubble, you have to start all over again.

“It might be six months before you get another commission if you’re lucky.

“So that was quite a hard way to live.

“I just had the idea that if I could get a collective space, where there would be a group of people doing the same sorts of things, then we could control the rent by sharing it and share all the resources.

Bow Arts supports artists in east and south-east London – image Rob Harris

“I also happened to do quite a lot of education work in schools and with special needs groups – I knew artists had a lot of transferable skills.

“I thought it would be a way to get work and build up relationships in an area.”

He found an ally in Marc Schimmel, who had just supported Damien Hirst and helped kick off the Brit Art movement.

“He offered me Bow Road and helped me set up the charity – we were full within three months,” said Marcel.

“I’m the only failure, as I’m the one that hasn’t been able to go back to being an artist.”

The charity began saving for a deposit, but found it couldn’t keep pace with property prices no matter how fast it saved.

“We had finally saved £1million and my big fear was that we were going to lose all of that through the pandemic,” said Marcel.

“Luckily, we were able to hang on to it, which meant we just about had enough to get a mortgage and buy this property for £2.2million.

“Where we get hit as a charity it is because none of our artists are higher earners – they are all below the VAT threshold so we’re not registered for VAT and we don’t charge VAT.

“But we have to pay it on the purchase – another £500,000 – and then the extra 20% for the fit-out. It is hard to make it affordable for artists.

“You’re constantly trying to work with the government or HMRC to find ways around it, but there is no provision to support the third sector in doing what it could do very well in this country.

“It’s a real shame considering charities have taken on an awful lot of local services for councils over the past 10 years.

“A tax break would make a huge difference to us and so many other organisations.”

All of Bow Arts’ education work stopped during lockdown, but it was able to get some financial support from places like the Arts Council and the GLA to help artists keep renting their studios.

Even so, it lost about 20% of its tenants and Marcel said the energy crisis had hit just as things were starting to bounce back.

“None of the mainstream stuff ever comes to us because we’re a charity and it’s all targeted at businesses,” he said.

“We will try the best we can to get grants, but as artists, we’re used to not having a lot of money so we’ll just be putting on thick jumpers.”

The charity provides studio space for artists in London – image Rob Harris

Marcel said the charity had finally managed to achieve its goal of a permanent site now the property market was changing.

“People are asking themselves if they are going to get these prices for commercial space and what the alternatives are,” he said.

“Then there’s been a lot of interest in the creative sector and in this new area of business.

“Over the last five years, there has been a real sea-change in London and awareness of the strength and the power of the creative economy.

“There are a lot of empty buildings around and people have looked to organisations like ours who have many years experience in filling these buildings and keeping them full.”

Bow Arts’ low rents – which range from £100-£500 per month- have seen it stay 98% full since day one.

The charity creates a circular economy by ploughing at least 25% of that money into supplying services for the surrounding local area, such as arts programmes for schools and community groups.

It trains its artists to be the ones who deliver that work and they get paid for doing it.

The charity is overwhelmed by the demand for what it does, getting about 12,000 hits a month from artists looking for space.

Marcel said it began building relationships with developers a few years ago to try to increase its supply of studios.

“We have worked with the GLA for many years because there is a creative workspace crisis in London with over 50% expected to be lost in the next few years,” he said.

“We started to form proper partnerships with organisations like Peabody, Notting Hill Genesis and Mount Anvil because they’re the guys that are building new places and we can work together to deliver creative workspaces.

“What has been quite incredible is the value added by building an artist community that works with local schools and organisations.

“That has meant a lot of commercial landlords and local authorities have actually given us buildings at very reduced rates, so that we can actually develop this creative placemaking.”

Bow Arts first began working with Peabody in 2015 as a partner on its huge Thamesmead regeneration project.

The old Lakeside Centre was transformed into 40 artists’ studios, a community nursery, kitchens and a cafe.

Its plans for the 26,000sq ft of space at Three Waters will see it converted into 70 studios.

Marcel, pictured at Bow Arts’ Three Waters space – image Matt Grayson

Set to open in January, the launch will be celebrated with the award of the East London Art Prize, run by Bow Arts in conjunction with the V&A, UCL and the Whitechapel Gallery.

“It has grown out of the East London Painting Prize and is all about encouraging new artists and promoting them, to bring as many into view as possible,” said Marcel.

“We’ve had 670 applicants, which is phenomenal, and shows how many artists are out there.”

The shortlist will be announced at the opening of Three Waters with an exhibition of work held at the charity’s Nunnery Gallery in Bow.

The winner will get a cash prize, free workspace, an exhibition and support for two years until the prize is awarded again.

“It is really hard for young artists in those early stages,” said Marcel.

“So an organisation like Bow Arts, which is absolutely committed to supporting them and maintaining affordable rent levels, is vital.

“There’s so much talent out there and, as London pushes east, we’re opening up more markets for people who want to go into the creative sector.

“It’s become a very viable career.”

Bow Arts also supports the next generation of artists through its work with 100 schools across London.

“We train artists very carefully to be able to deliver workshops, activities, commissions and things like that,” said Marcel.

“Then we’ll develop long-term roles and partnerships with the individual schools and with consortium groups of schools to deliver a creative programme.

“A lot of the creativity has been taken out of the curriculum in mainstream schools.

“We want to expand that operation and Three Waters means there will be permanent funding to support that work in Tower Hamlets and Newham, which will have a huge impact.

“There’s so much talent in the area.

“So many people from less privileged backgrounds just simply don’t know how to access the arts or even understand that there is a potential career for them there.

“We’re giving them those opportunities.”

Looking back, Marcel said it was strange how he’d changed alongside the charity, finding a new career without even realising.

“I would never have expected this if I’m very honest, as I always saw myself as an artist,” he said.

“I couldn’t have stayed as enthusiastic about it if it wasn’t such interesting work with interesting people.

“I don’t just mean the creative community, it’s everyone we get to work with – developers, schools and the local community.

“The support we’ve had and the interest from people has been really quite amazing.

“So I have been distracted by this for the past 27 years and that time has really flown by.”

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

September 29, 2022September 29, 2022

Poplar: How London Firefighter tells the story of Stephen Dudeney’s 31-year career

Book by former borough commander for Tower Hamlets and Hackney is available now

Firefighter Stephen Dudeney has published a book about his 31-year career

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There’s a circle to this story – it begins and ends with the printed word.

Stephen Dudeney grew up in Poplar, just down the road from its fire station.

As a boy in the 1970s, he was fascinated with the fire engines, even chasing them on his bike when he was old enough to ride.

“I loved them,” he said. “When I was about 12 I started going to the big library in Mile End to look at picture books full of them.

“Then, one day, I saw a book with a really bright cover – loads of flames and fire engines. I pulled it off the shelf, and it was just full of text.

“I was disappointed, but I started reading it and found I quite liked it.”

It was an encounter that fed what was already a growing passion and Gordon Honeycombe’s Red Watch about firefighers in Paddingtonand Denis Smith’s Report From Engine Co. 82 about a fire crew in New York added further fuel to the flames.

Stephen said: “Gordon, who was then an ITN newsreader, had done a lot of charity work with the London Fire Brigade, and his book was a best-seller.

“It’s known as the book that launched a thousand careers because a lot of people – a bit older than me – had read it and decided to join.”

While Stephen had always been fascinated by fires, once harassing his dad to take him to see a big blaze in Wapping, his journey to becoming a firefighter really began aged 14 when he and a friend volunteered to help out at Poplar fire station.

“We turned up on bonfire night because we knew it would be busy and offered to make the tea and cook some dinner for them,” he said.

“We both expected them to tell us to go away. I remember them saying ‘Thank you very much’ and we were expecting a ‘but’.

“Instead, they said: ‘We’d love you to. Come on Thursday night, about six’. So we did.

“It was a different time, that’s not something that could happen now – just imagine, an unaccompanied 14-year-old at the station.

“Looking back, I expect they thought I was a poor kid, which I wasn’t really.

“I don’t think they thought I’d end up as a firefighter – I probably didn’t seem intelligent to them.

“But I’d join in with all the banter and I used to go down the pub with them – fancy being given a pint at that age.

“It was a good time. It changed me at school too – I started using that banter at school and the other kids probably thought I was a bit of a live wire.

“I was probably fairly bright and had been doing well with my studies but I know I was a bit of a disappointment to my parents because, having been put in the advanced classes with good reports, at that time I decided I didn’t need to worry about all that because I was going to be a fireman.”

Stephen joined the brigade in 1987, with his first shift the day after the King’s Cross fire that claimed the lives of 31 people.

His 31-year career saw him serve at all the fire stations in Tower Hamlets, rising first to training officer and then station officer before going on to become station commander and then borough commander for Hackney in 2013.

Then, as Tower Hamlets had been placed in special measures, he returned to the area where it all began for him, finishing his career as borough commander in 2018, based at the new Millwall Fire Station on the Isle Of Dogs.

London Firefighter is available from Amazon, priced £11.99

While that completed the circle career-wise for Stephen, he’s since gone one step further, publishing London Firefighter, a book that aims to give readers a sense of the evolution of the London Fire Brigade during his more than three decades of service.

“The changes have been massive over that time,” he said. “When I joined, it was still very much the fire brigade of the post-war era.

“The big changes came through the 1990s and into the 2000s, and it’s now completely unrecognisable.

“We used to do a lot more of a lot less – it was fires, car crashes and the occasional flood.

“When you look at what’s done now – all sorts of things such as water rescue and animal rescue – the firefighters have got equipment and procedures that are so different.

“If I’d joined in 1957 and left in 1987, I would have recognised everything.

“Leaving in 2018, the only thing that was the same, was the water and the hoses. I hope this book shines a light on the modern brigade and how firefighting is a bit of London history.

“I want people to come away thinking we’re not a bad bunch.

“I’d always had the idea that I wanted to write a book and I’d kept notes over the years – moving files over from computer to computer.

“Then, when I retired, I thought I would do something about it.”

While the book offers vivid first-hand accounts of what it was like for Stephen to tackle ferocious fires up close, it also offers a wider perspective on the sheer complexity of organising the service and its multitude of functions.

For example, during his career Stephen played his part in the response to such major incidents as the 1996 Docklands bombing by the IRA at South Quay on the Isle Of Dogs and the Buncefield fire – the biggest incident of its kind in peacetime Europe – when an oil storage facility exploded in 2005.

“You expect to see and experience some things as a firefighter,” he said.

“I was called out to Grenfell Tower and it remains the worst thing I’ve ever seen.

“From a mental health point of view, I’ve largely survived the fire brigade in terms of the awful things that I saw over the years, but Grenfell really affected me.

“Since I left the service, I’ve started a company that consults and advises on fire safety and I was recently on my way to do a survey of a building when I passed the tower.

“I thought I was OK, seeing it again, but later on I couldn’t get it off my mind.

“Even though I wasn’t there over the night, when it was at its worst, it’s had a tangible effect on me and I think there will be a generation of firefighters who will feel the same, who will never forget it.”

That’s also the point of Stephen’s book.

To set down what happened and who it happened to, so those events and people aren’t forgotten.

London Firefighter by Stephen Dudeney is published by Austin Macauley Publishers and is available from Amazon priced £11.99.

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

September 28, 2022September 29, 2022

Canary Wharf: How Fairgame is set to revolutionise competitive socialising

CEO Richard Hilton says the funfair-themed venue will feature games, street food and cocktails

Fairgame does give some cuddly bears away as prizes - image by Matt Grayson — Fairgame does give some cuddly bears away as prizes – image by Matt Grayson

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Fairgame is something fresh.

While competitive socialising has been around for a while in Canary Wharf, it’s almost as though Electric Shuffle and the brightly coloured minigolf by Craig And Karl, were gateway drugs.

This new venue, set to officially open on October 4, 2022, is a pure sugar rush of grown-up silliness.

Overseen by a cheerful, furry pink bear, who may have been to a few too many illegal raves in the 1990s, Fairgame is a vast, 20,000sq ft funfair-themed bar, playground and street-food hangout.

There are cocktails, pizza, nine games to try and Prosecco-infused candy floss.

The venue’s owners have taken spaces once occupied by Davy’s, The Limehouse and The Merchant and knocked through to make a massive space with a terrace stretching down Fishermans Walk.

Don’t worry too much about finding it, though. Helpfully there’s a five-metre rubber duck sat in the dock right outside.

That, in itself, is a statement both of location for the venue, but also of wider intent for Canary Wharf.

What better way to let London know the direction the estate is headed, than by pointing the way with a giant yellow duck?

Like the dock its aquatic landmark sits in, however, Fairgame is more than just the ersatz glamour of a dodgy funfair.

Behind the fun is a serious operation run by some big names and the activities are scrupulously honest.

Fairgame’s co-founders include Paul Campbell of Hill Capital Partners, who sits on the boards of Hawksmoor, The Alchemist and Blacklock, and music industry lawyer Andrew Myers.

But it’s Gymbox founder and now CEO of this new venture, Richard Hilton, who takes me on at Gopher Broke, the venue’s update of Whac-A-Mole.

Fairgame co-founder Richard Hilton aims his water gun - image by Matt Grayson — Fairgame co-founder Richard Hilton aims his water gun – image by Matt Grayson

“Fairgame is a revolution,” said the Watford-born entrepreneur.

“We want people who come here to feel elated. That goes for our staff too – it’s vital they enjoy what they’re doing to create that environment.

“When I was a little kid, I used to love going to the funfair.

“It would come round once a year and my parents would take me. The games were magical – the chance to win a prize.

“When you transition to being a parent yourself you realise it’s really expensive and the experience is a bit grotty, but there’s still something magical about the games – you can’t help but love playing them and that’s what I want people to feel, here in Canary Wharf.”

While there’s a whiff of nostalgia about Fairgame – its tagline is that it’s the funfair “exactly like you don’t remember” – the games aren’t fixed or charged individually, they’re played purely for the pleasure of competition, although cuddly bears are given as prizes for those who do especially well.

“We’ve genuinely reinvented them,” said Richard.

“Every game has tech in it so people will be playing really slick games and competing.

“You can play in groups of two, five, 10, 15 or even 100 – which is great for a corporate day out – the number is unlimited.

“You’ll be able to see how you’ve done in individual games through our leader boards and overall, once you’ve played all nine.

“We incentivise people with the bears, but really it’s the joy of beating the people you’re with that you’re playing for.”

Players pay £13 per person, which gets then 75 minutes to tackle each of the nine games at the venue, twice.

Packages that include food and drink are also available.

There are nine games in total, which participants play twice - image by Matt Grayson — There are nine games in total, which participants play twice – image by Matt Grayson

Playing is not mandatory, however, and Wharfers are free simply to visit the venue for cocktails at the Bumper Bar or dishes from on-site vendors Burger And Beyond, Rudy’s Pizza Napoletana and Dos Mas Tacos.

Its terrace gets the sun in the evening and Fairgame plans to install covered seating and heaters for comfort.

Inside, visitors will find plenty of flashing lights, two bars, semi-private booths, a private events space, a candy floss and sweets bar and all the pun-tastic games.

Fairgame has reimagined and re-branded a multitude of classics such as Lawn Of The Dead, inspired by crown green bowling, Pantry Pandemonium – a game where missiles are thrown to knock targets off shelves and Circus Freak, where contestants try to accurately aim a water gun to raise a clown’s head faster than their opponents.

It’s the variety that Richard thinks will be key to the venue’s success.

“I don’t have a favourite – I love them all,” he said. “That was the joy in selecting them – I chose the ones I enjoyed the most and was best at.

“Final Furlong – our roller derby – is great and we also have one called Dunk The Junk, which hasn’t been made since the 1970s.

“You have to try and get as many balls as you can into these rubbish bins, but the lids keep opening and closing so you have to time it just right. I love it

“The majority come from the USA, but one – Phoney Island – our version of a duck shoot, comes from Oldham and is made by a guy who just takes joy in creating games.

“They all test different abilities – shooting, throwing, hitting – the idea was to do something more stimulating than having a venue dedicated to one thing.

“The reason funfair games are great is the variety, and nobody else has thought about putting them together like this in a circuit.”

Richard himself has history as an entrepreneur.

Having started out in the advertising world, he spotted Crunch while working in New York and created Gymbox in 2001 for the London market.

Fairgame's five-metre high duck is outside the venue in the dock — Fairgame’s five-metre high duck is outside the venue in the dock

“I saw something in the States and wondered why nobody had done it in Britain,” said Richard, who sold most of his shares in 2016, while remaining a director of the company.

“I was going to retire, but realised I was too young.

“My wife definitely wasn’t ready for me to give up work, so I began to look into something called competitive socialising.

“If I go out, I’m quite happy sitting in a pub and talking to a friend, but the younger generation want a bit more.

“So I had a go on one of the golf concepts but found it a bit repetitive.

“That’s where the idea for Fairgame came from.

“The reason we picked Canary Wharf for the first one is that it’s a really interesting area and now that Crossrail is here, it’s even more accessible.

“There’s the business community but with Wood Wharf and the areas around the estate, there’s a large residential population too.

“You’re getting brands like Hawksmoor and Patty&Bun that I don’t think would have opened a decade ago – it’s evolving and changing.

“I live on the other side of London and it’s not what I thought it would be.

“That’s thanks to Canary Wharf Group – there’s a vision for the place and it’s going to get even better, especially now its five minutes from Liverpool Street and 13 from Tottenham Court Road.

“It’s an exciting journey when you think what it was like even five years ago and it’s great to be a part of it.”

Players of dunk the junk attempt to get balls into bins

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