Greenwich Archives - Page 3 of 4

August 5, 2022August 5, 2022

Greenwich: How GDIF is set to fill east and south-east London with performances

The 2022 edition of the Greenwich And Docklands International Festival runs from Aug 26-Sept 11

GDIF will feature Charon, a zoetrope-like installation

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“We’re opening this year with a truly amazing event – Spark – the creation of a Dutch artist called Daan Roosegaarde, it’s a complete reimagining of what an environmentally sustainable public celebration might look like,” said Bradley Hemmings, artistic director and founder of the Greenwich And Docklands International Festival (GDIF).

“He’s taken inspiration from fireflies to create this wondrous moment, that audiences will see lying on their backs on the grass in front of the Queen’s House.

“They will be surrounded by myriad moving sparks in the sky – something very beautiful and very much echoing the magic of the natural world.

Sat in Festival.org’s offices at the Old Royal Naval College, Bradley’s obvious enthusiasm for GDIF is undimmed as he looks ahead to overseeing its 27th iteration.

Taking place across an ever-evolving spread of locations in east and south-east London from August 26 to September 11, 2022, it promises 18 days of free arts performances selected to astonish, amaze, delight, amuse and challenge those attending.

“As always, this year’s GDIF is going to be characterised by a whole range of extraordinary and spectacular events, as well as performances taking place at a more local level,” said Bradley.

“The last two years have been difficult for everyone – certainly in mapping out, understanding and planning how things might transpire.

“We were incredibly fortunate to be able to deliver two festivals with a strong sense of confidence, so we’re incredibly proud of that.

“This year we’re in different territory, with new challenges and new contexts. We’ve always been a free festival and that’s something people can make the most of as we’re in the middle of a cost of living crisis.

“It does put into sharp relief the power of a festival like GDIF – it is there for everyone, accessible, and we try to go the extra mile to make sure we attract people who might otherwise not attend the arts.

“For 2022, we’re going out to new sites, like Rathbone Market in Canning Town, Avery Hill Park in Greenwich as well as Thamesmead near Abbey Wood and Deptford, to bring performances to different areas.

“That’s one of the challenges of going outdoors, because for each site we have to create the theatre as there’s nothing on the ground.

“Of course there are venues we work at every year – Greenwich town centre for Greenwich Fair on August 27, for example, but actually discovering new sites and venues, as well as returning to places after a period away, is what keeps GDIF fresh and audiences awake and excited by what we’re doing.

GDIF founder and artistic director Bradley Hemmings

“For example, it’s great to be working with Tower Hamlets again – we have a wonderful audio piece at Island Gardens called Final Farewell, that takes people on a journey through the streets and parks of the Isle Of Dogs.

“Then we also have a new production from Air Giants called Unfurl over in Bethnal Green Gardens, which features ingenious, soft robotic technology – people will walk in a garden of giant inflatables that come in a whole range of different colours and react to the public passing by.”

The problem when writing a preview piece about GDIF is the sheer depth and number of the performances it offers.

With limited space, it’s hard to convey the often surprising blend of art, acrobatics, dance, circus, theatre and spectacle the festival offers – soaking the locations it touches in the unexpected to create memories that still echo many years after.

In previous years I’ve watched an acrobat tussle with a huge robotic arm, seen a whole band swing on a giant chandelier suspended from a crane high above dancers in an imaginary ballroom and been charmed by two performers being silly with a stack of buckets.

Bradley is, understandably, at pains to select highlights given the embarrassment of riches on offer – a reflection perhaps of the fact that all the performances have the potential to be affecting in their different ways.

“We care deeply about all the events, although one of the things we’ve done is continue to work very closely with Flanders House in London and this year we’re focusing on Flemish circus,” he said.

“There’s an amazing performance as part of GDIF 2022 called Follow Me, by a company called Be Flat, which will take people on a completely wondrous tour of a part of Thamesmead using acrobatics, Parkour and ingenious staging to draw the audience in.

“They are incredibly skilled performers who will leave amazing images in people’s minds after it’s gone.”

The best thing to do, of course, is just see as many performances as possible and decide for yourself.

DIARY DATES

While there are far too many performances to list over the 18 days GDIF runs in east and south-east London, here are a few highlights that demand a place in the diary

Island Of Foam is set for Greenwich Peninsula

Island Of Foam Version Eight

Sept 3-4, 6pm, free – Greenwich Peninsula

Artist Stephanie Lüning will use mountains of rainbow-coloured foam to transform Greenwich Peninsula.

Bradley said: “This is a UK premiere, a very exciting, unpredictable event with a huge outpouring of foam as Stephanie controls the palette and how the colours behave.”

Charon

Sept 1-10, 8pm, free – Limmo Peninsula, Royal Docks

Originally created for the Burning Man festival, Peter Hudson’s kinetic installation is a 32ft-high zoetrope powered by volunteers.

Bradley said: “Audiences arrive at the artwork having gone on an immersive sound journey. This is an extraordinary piece sited right beside the River Lea with the figures appearing to move.”

Peaceophobia will take place in Stratford

Peaceophobia

Sept 7-10, times vary, £10 – Here East, QEOP Multi-storey car park

This unapologetic response to rising Islamophobia uses verbatim speech from members of modified car clubs.

Bradley said: “This play by Zia Ahmed casts real people using their own words as they tell their stories, all while stripping down a car and putting it back together again.”

Discover Ukraine: Bits Destroyed will be at the Old Royal Naval College

Discover Ukraine: Bits Destroyed

Aug 26-29, times vary, free – Old Royal Naval College

This work sees mosaics destroyed in the Russian invasion of Ukraine projected onto the buildings of the Old Royal Naval College.

Bradley said: “This is a project that really speaks to the destruction of the country’s cultural heritage since the February invasion, and shares with us this remarkable tradition of mosaic-making.”

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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

July 20, 2022July 20, 2022

Greenwich: How Just Vibez is ‘a everybody ting’ for the people of Greenwich Peninsula

Two-day festival is a celebration of soca music and the work of the late Brixton hip hop pioneer TY

Just Vibez takes place on Greenwich Peninsula

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There’s a fair bit going on at Greenwich Peninsula over the warmer months with events and pop-ups scheduled by developer Knight Dragon, all with the aim of bringing life and entertainment to the area.

There’s mini golf from artist Yinka Illori, table tennis from artist Camille Walala and JeeYong Lee’s new installation at Now Gallery – Maiden Voyage – all running into September.

Also on the horizon is Just Vibez – a sonic rather than specifically visual attraction – set to take over a slice of land beneath the columns of raised public park The Tide.

Running over two days – August 13-14, 2022, from 1pm to 8pm, this free musical festival marries a line-up of DJs and MCs with dancercise and street food in a celebration of soca, hip-hop, afrobeats and reggae.

“Just Vibez is a collective of DJs, musicians, artists, different types of creative people, and we have crew in the UK but also in Singapore, Australia, Brazil and Toronto – our main goal is trying to put on events which will entertain or ‘edutain’ people,” said Mark Chan Poon, one of the movement’s coordinators.

“We run authentic Caribbean and African-American pop events, but it’s not just for that community, it’s to open up and be welcoming for all communities to enjoy.

“For us, ‘edutaining’ means entertainment where people also get to learn something, such as facts about the countries where the music comes from, or about their culture.

“For example, with the kids, we don’t just have a colouring corner, we have Caribbean heroes they can colour-in, so they learn a little bit while being entertained by the music. They party, but with a bit of education as well.”

Mark, originally from Trinidad And Tobago, came to the UK via New York and Costa Rica.

He said: “Music’s always been a big part of what I do and through that music I’ve had lots of collaborations in urban music, Latin music and hip hop.

“We’re stronger together, so we wanted to pull this together as a crew rather than all of us doing our own things individually.

“Out of that desire came Just Vibez for the UK, but I’m not the only person organising it.

“It’s been going loosely for more than 20 years, but probably a little bit more formally over the last seven or eight.

“I guess there are really three kinds of events that we put on. The most straightforward is the club nights with various DJs playing.

“That’s adults only and probably takes place three times a month in London but also in Australia, Singapore and other places.

“We also do special events such as one for the F1 racing in Singapore – any excuse for a party.

“People may not know us or the music, but some people have even travelled to the Caribbean for the first time after hearing it.

“Finally there are the family-friendly days like the ones we’re doing on Greenwich Peninsula.

“We encourage people to bring kids, nieces, nephews, as well as their older relations so that we have babies of maybe a few months up to people in their 90s.

“We try to programme the day so that it runs a bit more kid-focused at the start, with entertainment for them, such as bouncy castles, face-painting and colouring – even making a carnival costume – then later it will be the full-on carnival vibe, and similarly we do this for hip hop as well.”

Just Vibez at Greenwich Peninsula will have two different themes on the Saturday and Sunday.

The event will open with Caribbean Vibez – The Soca Summit featuring UK soca artists such as Trini Boi, Joocie, Scrappy, Sun Divas, Miss Desire, Batch, Pahjo and One The Band.

“This will be up-tempo calypso from Trinidad, Barbados, Grenada and so on,” said Mark. “Of course, there’ll be dancehall and reggae too.”

This will be followed by CelebrateTY on the Sunday – an event to mark what

would have been the 50th birthday of Brixton-born rapper, TY.

The line-up will include long-time collaborators Shortee Blitz, Billy Biznezz, DJ Croc and DJ Mr Thing as well as a live stream from Maseo of De La Soul and a set from DJ Sarah Love.

“Ty was a UK hip hop legend who passed from Covid in 2020,” said Mark.

“We thought it would be a nice opportunity to have a good outdoor event, where a lot of his peers and collaborators could come out and perform – or just be there to celebrate. He was a great pillar of the hip hop community in London.

“On the Sunday we’re doing special T-shirts for TY, a limited edition of about 200 – get one there and then never again. His mum and sister will be coming as well.”

Mark said one of the core principles of Just Vibez was its mission to attract and entertain as many different people as possible.

“One of our lines is that Just Vibez is a ‘everybody ting’,” he said. “That means everyone is welcome to be there and that’s really the main thing about it.

“Some events may be quite closed to their own communities, because, if you don’t know the culture or the language, you would feel quite out of place – but that’s not the way we do things.

“We also encourage people from our community to invite their neighbours, who may feel it’s not their culture, so that they can have a taste of that.

“We’ve done a lot of events in Brixton over the last 10 years, but some people were very sceptical at the start. Now they come often.

“For example, there was an English gentleman I spoke to a little while ago who discovered soca music at our event in Greenwich in 2019.

“He’s in his late 60s and joined Instagram just to follow us and now he comes to so many events and brings many of his family and friends who have never heard this type of music before.

“That’s really satisfying to me – he even came to our special event to mark the arrival of the Windrush and also drove out to one of our events at Lingfield racetrack. That’s really nice to see.

“With Greenwich Peninsula, people might know The O2 but some don’t know about other things that happen there, so, by us doing these events, our followers will find other things too.

“We’d done events at places like the Royal Festival Hall and the National Portrait Gallery – cultural icons around London.

“So we were very flattered to be asked to do one on Greenwich Peninsula and now to come back again.

“We hope people will come for us, but also that they will check out all the other things on offer during the summer too.”

In addition to a few surprise guests over the course of the two days, visitors to Just Vibez can expect a selection of street food to keep audiences fuelled for the dancing.

Those visiting the event can also find refreshment at Design District Canteen – a nearby food court or at the wide selection of restaurants on offer within The O2.

Read more: Sadler’s Wells East set to run summer dance workshops

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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

July 11, 2022July 11, 2022

Property: Last chance to buy at Upper Riverside on Greenwich Peninsula

Developer Knight Dragon eyes acceleration of delivery as deal signed with contractor Mace

Upper Riverside is almost sold out at Upper Riverside

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This moment represents something of a tipping point in the regeneration of Greenwich Peninsula.

There are still 20-odd apartments left in the Upper Riverside phase of Knight Dragon’s mammoth project, so for buyers this is a last chance to get in on one of the angular blocks set along the Thames.

“That’s really been our focus for the last four years, with just over 1,000 properties and it’s very much an established community now,” said Kerri Sibson, chief operating officer at the developer.

“We launched the last building – No. 5 – just as we went into the first bout of Covid, so things stalled for a little while and then subsequently picked up.

“We have a few one-bed and two-bed homes available, so this is a last chance to buy.

“There’s a really strong sense of community across the five buildings at Upper Riverside, which is really lovely and, of course, that’s what you hope for – people who will occupy the space and make it what they want it to be.”

Homes at No. 5 Upper Riverside start at £487,500 with residents’ facilities including access to a co-working space, three gyms, multiple roof terraces and a 15th floor swimming pool.

For those who’d rather rent, No. 4 Upper Riverside offers studio, one, two and three-bedroom homes to let with starting prices ranging from £1,500pcm to £3,000pcm, a selection of contract options and the option to move in without a deposit.

“The rental operation has had a full year now and the rental market is booming, so that has performed really well for us and we’ve been really pleased,” said Kerri.

“Having that option is part of what we talk about all the time for the Peninsula, which is that you need diversity of product to keep your audience as wide as possible.

“If you have just one type of property, it quickly becomes a not very interesting place to be. Rental gives us a different clientele and it definitely feeds into our sales business.

“We haven’t been able to do it yet, but we might be on the cusp of seeing if we could do ‘Try before you buy’.

“I’d like the idea that we could have a rental offer which ultimately means that the money you’re spending on rent becomes a deposit and – although it sends our finance department into palpitations – it would be wonderful if we could achieve that.

“On the sales side, having Lower Riverside has always been the perfect counterpoint in terms of accessibility so we’re not just offering one price point.”

Knight Dragon’s approach to making sure the area it is creating appeals to buyers somewhat sets it apart.

The company has invested significantly in public space as well as an ongoing programme of art exhibitions and events, intended to attract visitors to the area and entertain the now circa 5,000 residents.

That includes the creation of The Tide – an elevated park complete with sculptures including a work by Damian Hirst.

Knight Dragon has also worked to help establish local businesses to serve those passing through, studying and living on the Peninsula, opening a diverse collection of commercial buildings at Design District in 2021.

“That’s been a great success for us,” said Kerri. “It was enormously stressful for all parties getting it launched post-Covid.

“We had businesses really excited and ready to move in and we were behind because everything had been closed for many months, but when it arrived it exceeded all out expectations.

“When we launched, we had a journalist from the BBC asking whether we were worried about people not returning to work, not coming into the office – but that’s hasn’t been our experience.

“We have such a great mix of tenants in the creative industries and they were just really desperate to get in, to collaborate and to feed off each other.

“I’ve been working on this project since Knight Dragon got involved and I’ve found that if you engage with the creative industries early on in any process, the product you come out with is so much more interesting and challenging than if you stick to a very traditional property route.

“You can end up with a very homogenised product with ‘Do Not Stand On The Grass’ signs. We didn’t want that here.”

Knight Dragon has created The Tide leading down to the Thames

With a total of nearly 17,500 homes in the pipeline, both residents and visitors can expect to see a ramping up of activity, as Knight Dragon prepares to announce the next phases of its project later in the year.

“We’re probably around the 30% mark in terms of completion, so there’s still an awful lot more to do,” said Kerri.

“We’ve just announced a partnership with construction firm Mace – which built Upper Riverside and The Tide – and there’s a big push forward in terms of momentum and speed of delivery. There are going to be lots of homes on their way very quickly.

“In the last four or five years, we’ve been very focused on place-making.

“The river bank, back in the day, was a desolate tarmac path that ran along the Thames, so we invested in The Tide to get people to enjoy the area.

“It was important for us that Greenwich Peninsula was not just about homes, but a balance between home and work and a place where people would want to spend time during the day.”

With Mace set to build 20 buildings as part of Knight Dragon’s 40-acre project, the exact shape of the final development cannot be set in stone.

“From an infrastructure point of view, it’s a constant game of moving things around,” said Kerri.

“When we started the project, the Silvertown Tunnel hadn’t been given the green light, so two of our buildings won’t be delivered because now that’s very much happening.

“It’s also absolutely our ambition to redevelop North Greenwich station, although we weren’t able to make our original plans for that site work.

“However, it’s important to remember, from a residents’ point of view, how well connected the Peninsula already is – London City Airport, for example, is a big plus for us.

“There’s a perception Greenwich is further away than it actually is, but once people are here they realise how well connected it actually is – just minutes from Canary Wharf and the City.”

Knight Dragon puts on numerous cultural events on the Peninsula

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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

June 23, 2022June 23, 2022

Greenwich Peninsula: How The O2’s premium offer has evolved over 15 years

The North Greenwich venue is celebrating one and a half decades in business since launch in 2007

The O2 is celebrating 15 years since its first gig

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To paraphrase the work of the late, great Prince Rogers Nelson – it’s been 14 years and 361 days, since The O2 officially welcomed its first audience (at the time of writing).

The chords that rang out on June 24, 2007 did not come from the purple guitar of His Royal Badness – although he did play a 21-date residency at AEG’s Greenwich Peninsula venue in its inaugural year.

That honour was taken by Bon Jovi and, as the duck-quacking riff of Livin’ On A Prayer sounded in the Arena, Matt Botten was standing in the wings.

“I’d snuck in at the side, having made a promise to myself that I wasn’t going to miss it,” he said.

“I found myself standing just behind AEG president Tim Leiweke and immediately I started thinking: ‘What have I done? Should I even be here?

“But he turned round and we high-fived – it was this feeling that we’d all done it.

“It was a huge relief to hear those chords, to know everybody was in the building, that the suites were full.

“We had done it, we’d opened and we’ve never looked back.”

As head of hospitality then, and senior director of premium seating now, Matt has pretty much seen it all – making him the ideal interviewee as The O2 prepares to celebrate its 15th birthday.

“I always joke that when I finally retire or move on, there’s a book waiting to be written,” he said.

“There have been some huge events – the opening was massive and when Led Zeppelin reformed for a single show in 2007, that night was a who’s who of the music industry.

“Working on premium, I’ve been fortunate that some of my experiences have meant contact with remarkable people – just escorting the likes of Sir Paul McCartney, David Beckham and Kylie Minogue to their suites.

“But really it’s the little things that we do as a team – bringing someone a birthday cake, making those ‘wow’ moments happen. Delivering a real difference to somebody’s experience – that are huge for me.”

The O2's senior director of premium seating Matt Botten — The O2’s senior director of premium seating Matt Botten – image Matt Grayson

For a bit of context, it’s important to realise what a massive deal The O2 is.

Pandemic notwithstanding, the project has taken Richard Rogers’ vacant tent following its troubled inception as the Millennium Dome and created a venue that by 2020 had sold more tickets to events than anywhere else in the whole world, every year, for more than a decade.

Right here, in London on Greenwich Peninsula. Let that sink in. Nothing compares.

With a broader range and greater number of shows than any other arena in the UK, The O2 heads into its 15th year with a packed schedule.

Billie Eilish, Alanis Morissette, The Kings Of Leon, Cirque Du Soleil and Haim are all set to play in the first 30 days.

But there are also a host of sporting events in the pipeline including boxing with Chisora vs Pulev, UFC Fight Night London and the Laver Cup London with tennis stars Roger Federer and Rafael Nadal scheduled to play.

“That’s what makes The O2 unique – the sheer number and variety of events,” said Matt. “It really is quite something working here – I’ve got lots of peers and friends working at sporting venues and they talk about the 30 shows they have a year. We have 25 just in June.

“That was a real game-changer in the corporate market. Everyone was used to Twickenham and Wembley, which I say with great affection because I worked at both of them.

“I sold my first T-shirt at the old Wembley Stadium with the twin towers back in 1997 outside a tribute gig marking the release of Nelson Mandela.

“Then I ended up working there full-time after my A-Levels, and then Wembley Arena, and that threw up opportunities such as spending time on the road servicing U2 tours, selling merchandise.

“Then I was at Twickenham Stadium for many years, and then moved across to The O2 when it was still a building site inside.

“For the launch, we had to educate people. Businesses could understand the value of gigs by the Rolling Stones or Queen but what about The X-Factor or Disney events?

“When we were launching in 2007 it was about that shift in work-life balance – if someone accepts an invitation to go to a game of football, for example, that might mean a day out of the office.

“But as a company, if you can work it so that guests can bring their whole family to an event, then you can merge the two things and over the years we’ve seen more and more use of our suites in that way.

“The companies that buy them also use them for staff incentives internally or in partnership with local organisations such as charities and schools.

“When we opened, we had two premium products – the suites and an annual membership, which was typical for stadium venues.

“We’re proud to say, after 15 years, we still have some of our original clients with us – some having taken suites for five or even 10 years initially.

“But since then, a lot has changed – our smallest suite has 15 seats and, if you imagine 180 shows a year times 15, that’s a lot of invites to ensure you’re getting people down and making the most of your investment.”

The two levels of suites offer commanding views over the stage

An evolving business landscape and a resurgent experience economy has seen The O2 expand and develop its premium offerings in concert with those two core strands, meaning there are now more ways to experience high-end hospitality and personal luxury at the venue than ever.

“This is particularly pertinent post-Covid,” said Matt. “We’ll see if it continues, because people’s disposable income at the moment is being squeezed in all areas.

However, with people having been locked down for 18 months to two years, there seems to have been this shift from an emphasis on buying physical possessions to buying experiences.

“We’ve seen more individuals thinking that, if they’re going out, they want to make it a night to remember.

“The corporate suites are a large part of our business, but the direction we’re going in is to make them and a range of other premium experiences available to far more people.

“Even before the pandemic, there was demand for smaller numbers, simpler products – options akin to a season ticket at a football ground.

“We’ve seen smaller businesses buying into this too – they can use two, four or six seats at every event where they would struggle to deal with 20.”

This shift has resulted in a collection of products including whole suite hire for a specific event, Encore Seats offering individuals tickets to 10 shows a year, plus the option to buy more in the members’ area of the venue close to the stage and, for businesses, the chance to buy a number of seats in a shared suite for a set period of time.

The venue also offers American Express Advantage tickets to the credit card company’s customers guaranteeing seats right by the stage.

These and several of the other premium options also grant access to the luxury American Express Lounge, which offers live music, cocktails and food on event days.

The current crop of premium options – with more in the pipeline – reflects the venue’s increasingly relaxed approach to its model, something typified by the freedom its suite clients have to design their spaces.

Matt said: “Back in 2007 we were probably a little bit more corporate.

“Today our customers want to bring their brand identity into their space and we understand that.

“Companies inviting people to events need to get a return on their investment and those attending need to know who’s invited them, so we work with them and they can do pretty much anything.

“I have this idea that we’ll end up with the most eclectic collection of suites in the UK. We have some very corporate ones and one from a partner who’s just come on board that has a shuffleboard table in it.”

Suites at The O2 offer a range of attractions including a dedicated bar

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

May 25, 2022May 25, 2022

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

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

Notflix create the show based on suggestions from the audience

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

The cast make up the musical from scratch

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Notflix comes to Greenwich Theatre on June 11, 2022

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

May 13, 2022May 15, 2022

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

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

Artist Nicola White on the Thames foreshore – image James Perrin

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BY LAURA ENFIELD

The tide is high when I speak to Nicola White.

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

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

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

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

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

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

Nicola uses her finds to make art – image James Perrin

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

January 20, 2022

Greenwich: How Joy’s Caribbean Fusion tackles waste and meat consumption

Founder Tescha Joy blended banana skins, spices and veganism to create a street food business

Tescha Joy of Joy's Caribbean Fusion — Tescha Joy of Joy’s Caribbean Fusion – image Matt Grayson

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Taste and waste is what Tescha Joy is all about. Driven by a desire to create sustainable, eco-friendly, flavourful food, she created Joy’s Caribbean Fusion – a street food brand that had its debut at Bexley’s Wasteless Market two-and-a-half years ago.

Since then she’s gone on to establish herself at RARE Farmers Market at Royal Arsenal Riverside and recently started a residency every Thursday from noon-8pm, at Pegler Square in Kidbrooke Village, just by the station.

Her food is vegan and contains only plant-based ingredients, cooked with Caribbean spices to create dishes that attract longer queues at the markets she serves than stalls selling meat. And it all started with some banana skins.

Scroll down for Tescha’s Banana Skin Curry recipe…

“I’m a public health nurse and work three days a week in the NHS,” said Tescha.

“My first dish was banana skin curry – I was at work one day and everyone was throwing away their banana skins and I asked them to give them to me instead.

“I hate waste so I took those skins and created a dish with them. There’s lots of iron, fibre and many other nutrients in them. The whole point of the dish was that I wanted to show people that you don’t have to throw away certain ingredients.

“I showed you can create a nice meal from them and that’s where I got the idea for the business – it’s the dish I took to the Wasteless Market and it’s the only recipe I’m happy to share because I want people to recreate it at home.

“I want to have it printed in this paper so readers can use it rather than throw away their banana skins.

“We’d normally throw them away in the Caribbean too – people over there are amazed when I tell them.

“I’d decided to go vegan for environmental reasons – I think we eat too much meat in this country. I’m not anti-meat, but I think it’s important to cut down.

“Climate change is important to me because I want a better future for my children – I want them to grow up in a world where we waste less food.

“I know what it’s like to be hungry. The majority of people in this country don’t know what that’s like and we need to cut the amount of food we throw away.

“I’ll literally make a dish from nothing – some potato peelings can be put in the oven with olive oil and you have some crisps.”

Tescha's take on doubles with chickpea curry — Tescha’s take on doubles with chickpea curry and pickles – image Matt Grayson

Tescha’s banana skin curry remains a firm favourite on the menu at Joy’s, joined by a host of core dishes intended to delight diners with both flavour and texture.

She said: “Cooking is also my passion and it’s in my blood. My parents owned a restaurant in the Caribbean. I would have to just get changed after school and go and help whether I wanted to or not.

“My brother owns a restaurant in Catford and I have another brother who is in America and has a restaurant there.

“There’s a long family tradition of cooking, but I’m the only one who does vegan.

“Normally you’d have jerk chicken and jerk pork – quite meaty dishes. I wanted to explore different types of food using Caribbean flavours.

“Also, I think it’s good for my children to see that vegetables can be really tasty and it’s better for the planet.

“On the classic menu, I have chickpea curry with flatbread – it’s really naughty because it’s deep fried – and that’s served with mango chutney, which I make from scratch before every market, tamarind sauce and pickled onion, red cabbage and cucumber.

“In the Caribbean we call it doubles because you get two smaller breads, but I do it as one large one, just to be a bit different.

“We also do rice bowls with toppings of barbecue jerk mushroom, jerk tofu and cauliflower bites.

“My best seller is the combination bowl where you get a bit of everything including the chickpea curry and the flatbread. It all comes with the same toppings – the chutney and the pickles.

“Then we do specials such as vegan fish, which is made from jackfruit or banana blossom with plant-based marine ingredients to give it that fishy flavour.

“People can be a bit hesitant to try vegan dishes, but once they do, they usually come back and say they don’t need the meat.

“I catered for a wedding in December and the bride told me some of the guests thought they’d need to go to the local burger shop after they’d eaten the food.

“But she called me back later and told me nobody had gone – they all were amazed at the texture of the dishes and the different flavours.

“I’ve built up a big following in the areas where I trade – at RARE in Woolwich I have a queue, which is longer than the meat queue and I think people are becoming more aware of veganism and meat-eaters are also cutting down and having plant-based food instead.”

Joy's serves a range of vegan dishes — Joy’s serves a range of vegan dishes – image Matt Grayson

New dishes undergo strict quality control from Tescha’s children who taste all of her dishes before they’re allowed to make it onto the stall.

Her ambition is to keep growing the business to the point where it can operate more widely and be her sole focus.

“I’m still working as a nurse, which is something I’ve been doing for 20 years,” she said. “I’d love to have Joy’s in multiple locations, to train people up to run those stalls and serve the food.

“At the moment my goal is to get a van so the business can be more mobile.

“This really is my passion – it’s something I want to develop. I now make and sell my own sauces too – called Island Drizzle.

“People kept coming and asking me for my recipes and my husband said: ‘Don’t tell them, just put it in a bottle’.

“It comes in medium, hot and extra hot. They’re all vegan too and are quite different to a lot of sauces out there because you can use them as a marinade, a dressing and as a condiment.

“It’s not the hottest sauce around because I’m more into the flavour than the heat – customers can come down and try it.”

Cook it: Banana Skin Curry

While most of Tescha’s recipes remain secret, she’s happy to help people cut down on waste by sharing this one – perfect for using up that unwanted peel…

Tescha's Banana Skin Curry — Tescha’s Banana Skin Curry

Ingredients (serves three-four)

4-5 large ripe banana skins

1 cup peeled, diced potato

3 tbsp lemon juice

1 tsp sea salt

1 tbsp curry powder

1 tsp turmeric

1/4 tsp fennel seeds

1/4 tsp cumin seed

2 cardamom pods

3 cloves garlic

1 tsp ground coriander

1/3 tsp chopped scotch bonnet

chilli pepper (optional)

3 tbsp vegetable oil

1 large onion finely (chopped)

1 tbsp fresh thyme (chopped)

1 tbs curry leaves (optional)

2 tbsp fresh coriander (chopped)

1 cup water

1/2 cup coconut milk

Method

Thoroughly wash the banana skins, remove the rigid woody end at the top and dark spot at the end.

Add lemon juice to the skins to stop them going dark while chopping (they will still be edible, even if this happens, so don’t worry).

Use a spoon to scrape out the inner lining and discard the scrapings. Depending on your preference, finely or roughly chop the skins. Then add the diced potato to them and combine with salt, curry powder and turmeric.

In a pestle and mortar, place the fennel seeds, cumin seeds, cardamom pod, garlic, ground coriander and chilli. Grind into a paste. Add the paste to the banana skins and potatoes and mix in well. Add chilli here if preferred for a spicier dish.

Add the oil to a frying pan, heat and turn down. Add the chopped onion and stir until softened and then tip in the chopped banana skin mix. Increase the heat and sauté for 10 minutes.

Add the coconut milk, water, thyme, curry leaves and fresh coriander to the pan. Cover and leave to simmer for 15-20 minutes.

Add an extra 1/4 cup of water if you prefer a more moist curry. Remove from heat once the banana skins and potatoes are soft. Serve with rice of your choice, a flatbread or on a bed of salad.

Tescha Joy

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December 9, 2021

Greenwich: How a bottle of Greenwich Gin contains a journey all around the world

We talk to Gonzalo Ruiz about creating a spirit with consensus inspired by the prime meridian

Greenwich Gin’s Gonzalo Ruiz – image Matt Grayson

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Greenwich Gin is a coming together in many different senses.

Its creator, Gonzalo Ruiz, first began distilling botanicals at his home at Royal Arsenal Riverside as a lockdown project.

“Since I was born I’ve always been moving around,” he said. “I’m originally from Colombia but I’ve lived in Canada, in the USA, in Switzerland, in Hong Kong, Germany and now here.

“The person that I am is a mix of all of the places where I’ve lived and, in many of them, I’ve picked up on specific flavours and cuisines. I’ve always been a gin lover, so I thought I would try to distil some of these botanicals and see what happened.

“I spent about a year and half playing with my two-litre copper still, trying dozens and dozens of ingredients. I found that while many work really well on their own, they don’t mix.

“So it’s trial and error – there’s no scientific explanation for why a combination of flavours work together. It was often a frustrating process, but eventually I narrowed it down to a selection of botanicals where I was happy with the result.”

Having come up with the recipe, Gonzalo thought the resulting spirit would contribute something different to the ever growing gin market.

So he set about scaling up production and creating a brand that would do justice to the liquid in the bottle.

“The name of the gin has a lot to do with the prime meridian, which enabled navigation around the world,” he said.

“But there’s a subtlety about Greenwich, which is often overlooked – to me it’s a really nice detail. Unlike the equator, which is the physical middle of the Earth – something nobody can dispute – the prime meridian could really be anywhere.

“So the whole world has to agree where it is. All the countries had to come together and make a decision for the greater good – to decide that time would begin in Greenwich – the place where west and east separate.

“The concept of the world coming together for something is reflected in the gin. The gold line down the middle of the bottle symbolises the prime meridian.”

Greenwich Gin is inspired by consensus – image Matt Grayson

Inspired by the spirit of consensus reached at the International Meridian Conference in 1884, Gonzalo’s recipe is all about diverse ingredients working together to achieve something greater than themselves.

“I describe the flavour as an ocean journey around the world,” he said. “There are always the marine botanicals in the background – Atlantic dulse and kombu kelp from the Celtic Sea and sea fennel from the British Isles. The first two grow in the ocean and provide that backdrop.

“There are traditional botanicals found in many gins too such as bitter orange, coriander, juniper and angelica.

“Then the world botanicals I’ve hand-picked from across the globe – some are dry, some are sweet – they help give the gin peaks of flavour as you drink it.

“As much as it is a local gin, created in Greenwich and produced in Kent, it is a global spirit that ties back to my personal story. It brings all those world flavours and cuisines together.

“I’ve sourced many of the botanicals directly from people around the world that I have a connection with.

“There’s a map on the bottle that shows where they come from. Balsam fir, for example, comes from the Canadian arboreal forest and there’s a family who actually live among the trees and ship the fir tips that they forage every spring, to us.

“There’s lime from Mexico and lulo, which is a tropical fruit from Colombia. It’s really acidic – you can’t really eat it on its own, but people use it to flavour desserts and juices and now I use it to flavour gin.

“That’s why you get a citrus flavour that’s a bit more on the tropical side.

“We also use sustainably sourced tonka beans and pink pepper from the Amazon in Brazil and sakura from Japan, which are the cherry blossoms. Their floral flavour is very subtle and brings a touch of spring into the gin.”

Greenwich Gin at Royal Arsenal Riverside – image Matt Grayson

Balancing the input of these diverse ingredients was tough enough during development and Gonzalo discovered that scaling up production threw up new challenges.

“It was almost like starting over, but more expensive because the quantities are greater,” he said. “You’d think you’d just multiply the original recipe but there are so many variables.

“I haven’t started a distillery as that’s a big investment, but I found a family business in Kent that allows me to be very hands on.

“First we scaled up to 50 litres, which was difficult and then to 200, which was slightly easier. In the end we’ve got something that’s close enough to the original and it’s in time for the Christmas season.”

That final period of development provided yet another opportunity for the theme of consensus to emerge.

“When you treat something as a business, you treat it differently – it’s no longer a hobby,” said Gonzalo. “You’re trying to balance your prices with the quality of your product.

“One of the things I struggled with when developing a recipe, was that you might create something that’s perfect for you, but it might not be what most people want.

“I had to make some compromises on that, more towards the end.

“While we were doing the final scaling, we had a lot of blind tastings with other people and I tweaked the recipe in a way that maybe I wouldn’t have if it had just been for me.

“But people found it pleasing – they enjoyed some of the botanicals we’ve included more, so we’ve brought them a little more into the foreground.

“It’s all about finding balance. If I were to describe the flavour in one word, it would be ‘fresh’. But the great thing about this gin is that the taste is not homogeneous, it’s a journey.

“You start on the citrus side and then get peaks of intriguing flavours. On the finish you get spice from the tonka beans and the pink pepper.

“Creating the branding has also been very hard – bringing together work by freelancers with my own additions to represent the spirit.”

Greenwich Gin is available online as well as at select retailers in the borough including the Old Royal Naval College and Royal Museums Greenwich.

Miniatures cost £6 while 50cl and 70cl bottles cost £32 and £39.50 respectively.

Gonzalo is also often to be found selling the spirit at weekends at Greenwich Market.

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October 27, 2021

Woolwich: How Woolwich Contemporary Print Fair continues to evolve

Lizzie Glendinning talks art, factory spaces and continuing to deliver work people can easily own

Print Fair co-founder Lizzie Glendinning

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BY LAURA ENFIELD

Shiny golden phalluses are not a conventional start to a business. But why be dull? The glimmering appendages provided the catalyst for the birth of Woolwich Contemporary Print Fair, which is set to return from November 11-18.

It brings 700 original artworks to the area featuring famous names, hot new artists and images of everything from folk tale-inspired etchings, to the naked human form and abstract pieces created using control and chance.

“We were invited to bring a cultural activity to Woolwich as a one off,” said Lizzie Glendinning who founded the Fair in 2016 with artist husband Jack Bullen.

“We installed this quite controversial Italian sculpture by Samuele Sinibaldi in the former Canon Carriage Factory.

“It got people talking as it featured golden phalluses on a tree. People either loved or hated it, but we were invited back nonetheless.”

The couple already ran Brocket Gallery together and had gained attention for their New Collector Evenings, which used original print to encourage people to talk about and buy art.

Inspired by that ethos they ran a Kickstarter fundraising campaign, contacted printmakers they admired and set-up the inaugural fair, with no budget, in two months.

“Filling a huge abandoned former factory was a huge undertaking and we thought original print would be the way because there wasn’t anyone doing that specifically with contemporary work,” said Lizzie.

“The redevelopment of the buildings was something we really wanted to mirror in the history of printmaking, the industrial nature of it and the process.

“Jack and I are big fans of the Venice Biennale. They have used fine art to regenerate old factories. We thought: ‘How come no-one has done this in London because the buildings are just incredible?’.

“One of the reasons we decided to invest in the area was because of Crossrail – my background was working in Mayfair galleries and we wanted to bring the best of that genre here.”

The Arc Of Knowledge by Samuele Sinibaldi

The fair has now usurped their gallery business and takes 12 months to plan. Lizzie will be breaking boundaries again by curating the entire event from more than 300 miles away in Northumberland.

The couple moved there just before the first lockdown and Lizzie is now pregnant with their second child so unable to make the long trip to the capital.

But in a fortuitous twist, the cancellation of last year’s event means they already have the technology in place.

“It was a last-minute decision in September 2020 to cancel,” said Lizzie. “Our whole year had gone towards building it and there were lots of people involved and some wanted us to keep going.

“But it would have completely ruined us because we went into lockdown. So we’re really lucky we decided to go online.

“We worked with a company called Kunstmatrix and were one of the first Fairs to do an interactive walk through design.

“We had a lot of other big fairs calling us to ask about it and people recognised we had done something quite unique.”

Lizzie will use the technology to curate the artworks online and then her team will install them over two days at Woolwich Works. The physical fair is returning with a flourish, taking over the newly restored former Fireworks Factory at Royal Arsenal Riverside.

“Woolwich has really evolved in the time we have been there,” said Lizzie. “We are going into our third building in six years because the other ones have all been redeveloped – this one is stunning.

“The abandoned building we were in before was very cool because it had that gritty aesthetic, but when the artworks are of such great quality, it really elevates them to be in this gorgeous building. It’s a fresh start and feels like we have stepped up to a new level.”

Detail from Love Of Seven Dolls Princess by Liorah Tchiprout

Half the fair will be booths curated by specialist galleries and the other half filled with works chosen from an international open call.

As a result, the fair represents around 350 artists directly and takes commission from their sales.

“It’s unique in terms of art fairs, which generally rent booths to galleries so they only give access to artists who are already represented,” said Lizzie.

“We had about 4,000 applications for the open call and a panel of industry experts, including Gus Casely-Hayford from V&A East and artist Andrew Martin, chose the work.

“It makes it a completely democratic process and a big surprise for us, while keeping it fresh and fair.”

All the artists who applied are eligible for a new Art In Business scheme, which offers online workshops in marketing as an independent artist, wrapping and packing work, biographies and personal statements.

The fair is also running the Young London Print Prize for the second year, bringing printmaking workshops to 1,000 children in London primary schools including Greenwich, Thamesmead and Hackney.

A panel of sixth form curators will choose a shortlist to showcase at the event, with an awards ceremony on November 11.

Detail from The Caramel Contessa by Toby Holmes

Lizzie’s own love of print started as a schoolgirl thanks to her art collector father and she wants to share that passion with everyone.

“The risk with the term ‘print’ is people think its just digital and printed off a computer,” she said.

“But there are mediums like etching or lithograph, monotype, so many different styles and textures and technical application of ink or paint. You need to see it in real life to appreciate the layers and paper. If it’s on a screen it’s flat and you don’t see the intricacies or subtleties.

“The tactile nature is something we have tried to reinforce through the mantra of the fair, which is about the evolution of technical process and pushing the boundaries and reinterpreting these traditional processes.

“A lot of people will come thinking it is like posters and then they will see artists at work and appreciate the technicalities a bit more.”

The fair is laid out with stories and themes for people to follow to help make the event more friendly and engaging.

Detail from The Spirit Of The Three-Piece Pine by Evgeniva Dudnikova

“I first did that in 2019 when I had just had a baby,” said Lizzie. “I was really into illustrative art and things that were beautiful for children because I just wanted Daphne to be surrounded by beauty.

“This year Jack has done a couple based on literature and books and fantasy. I think that’s because he reads all these books to her.

“What we don’t want is to make it too academic. We don’t want to frighten people with terminology that might be inaccessible.

“We want people to recognise a narrative running through or maybe make one up for themselves.”

Lizzie advised fledgling collectors to grab a drink, talk to the artists and pick a theme to follow rather than trying to view everything.

They are giving visitors a helping hand with an art and interiors section, a talk on women in print, curator tours, family printing workshops and artist demonstrations.

A New Collectors’ Evening on November 12 will include advice from industry leaders, a DJ set and complimentary cocktails. Online they will be using #findartthatfits so people can snap a pic of their space and receive suggestions of works that might fit into it.

There will also be edits of prints under £100, £300 and £500 and the Fair has partnered with OwnArt so buyers can pay for a print for as little as £10 a month.

“The nature of print is that you can get an original artwork at a lower price or enhance a collection by bringing in a really well known name,” said Lizzie.

“It is a less intimidating step into contemporary art and you can’t buy bad at the fair because it has all been curated or chosen by these industry experts. We really want to become the place to go for contemporary print.”

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October 14, 2021

Woolwich: Why Berkeley Homes continues to finesse Royal Arsenal Riverside scheme

Tweaks to Building 10 deliver greater access, commercial units and eight new properties to buy

Windsor Square under construction at Building 10 – image Matt Grayson

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As the team from Berkeley Homes are leading me on a tour of the Building 10 site at its Royal Arsenal Riverside development, I spot an unexpected local resident.

As the dwindling light of an autumnal Monday streams through the open roof of what will become a partially enclosed public square, it falls on the glossy, auburn coat of a fox.

He stops briefly to survey us in our hi-vis PPE, before disappearing off about his business, bushy tail bobbing behind him.

Foxes are deeply practical animals. Their intelligence and flexibility has seen them adapt with ease to increasingly built-up areas of London, becoming a common sight across the capital as they effortlessly tailor their lives and ambitions to the realities they encounter. They’re smart – and it pays off.

Berkeley is similarly adaptive and pragmatic. It has to be. Instead of simply levelling the 88-acre Woolwich site and starting again – arguably the easier option – it’s made a consistent and conscious effort to preserve and celebrate the area’s heritage.

That has meant refurbishing and reimagining existing structures and ensuring a flavour of Royal Arsenal’s sprawling operations – that at their peak saw 80,000 people employed locally in the manufacture of weapons and ammunition and supporting trades – remains.

Berkeley East Thames development director Julian Evans – image Matt Grayson

Working with older buildings, no matter how careful the preparations made, is unpredictable. Sometimes, until you get on site, the feel of the finished product is unclear.

It’s also the case that developments take a long time and, sometimes, what was originally planned no longer suits the demands and desires of the people who will ultimately use it.

A certain amount of finessing is therefore to be expected and Berkeley’s latest proposal for Building 10 continues a process of tweaks made to the original scheme, which was approved in 2017.

That included plans for 18,800sq ft of commercial space split into seven units, which was increased to 34,600sq ft over 10 units in 2019 with the addition of mezzanine floors to spaces at the western end of the site and the introduction of a fresh access route out to Major Draper Square.

The original architectural model of Building 10 – image Matt Grayson

Berkeley East Thames development director Julian Evans said: “We continually think about whether we have the right solution in terms of the buildings we are developing.

“We’ve recognised that the nature of the proposed commercial spaces underneath the new-build section of Building 10 is they are constrained by the historic arches, meaning they would be compromised to the point that, if we took them to market, they wouldn’t be attractive to potential tenants.

“The nature of retail, particularly, is about that frontage – that footfall. It’s understanding that visually, people need to be able to see that where a business is and what it does.

“So we reviewed the eastern large ground floor space and created something new – we’re proposing an atrium with four smaller commercial units that gives people a wonderful sightline through to an existing archway, which will connect out to the next phase of Royal Arsenal Riverside.

“This will create a link between the two, while also maintaining the ability to have smaller, modern but more prominent retail units that face outwards onto the street.”

An interior at the Building 10 show home – image Matt Grayson

The new proposal keeps the total number of commercial units at 10, with a slight reduction in space on the 2019 proposal. It still represents an increase of 52% on the 2017 scheme and opens up the semi-enclosed square at both ends.

“At the same time, this change means there’s an opportunity to create eight mews-style houses that we know people crave from what we’ve delivered on-site to date,” said Julian.

“Buyers want something different. The properties would be set over two levels – they have the feel of a house and they’re quirky in their nature.

“The houses at Building 10 will also be homes people can both work and live in if they need to.

“What people have loved over the years is that the historic properties we’ve created at the development don’t exist anywhere else – they’re unique to this place.

“It’s a really great proposal and, I think when we take all of the commercial units to market, it’s such an exciting space that they will be really well received.”

The change also plays into Berkeley’s strategy for fostering small business growth locally.

The developer’s head of social value Carolina Correia said: “We’ve been very lucky to have been working with a number of micro businesses in the area who have expressed an interest in being on-site.

“They recognise how interesting Royal Arsenal Riverside is as a proposition.

“We have a coffee cab that stays here from Tuesdays to Sundays. Then we have a rotation of different street foods.

“The plan is to create an arcade at Building 10, which will have some of these smaller commercial units, and it’s a great opportunity for some of these businesses to trade here. We’re also working hand in hand with Greenwich Cooperative Development Agency to provide training and mentorship so these businesses can grow to full commercial propositions.

Julian added: “This whole concept of incubating local businesses that start on a kitchen table and come to us, explain what they want to do and then get help, is what Berkeley has been doing from day one. This latest proposal is part of that.”

Building 10 comprises a new-build structure containing more than 110 apartments, alongside Windsor Square, a partially covered space that once formed part of the Carriage Works at Royal Arsenal.

The proposed eight new residential properties would range in size from one to three bedrooms and would feature double height spaces, first floor balconies, historic features, a split level layout and dual aspect living.

Prices for homes already on sale at Building 10 start at £470,000. One, two and three-bedroom properties are available.

The building is located close to Woolwich Crossrail station which will offer direct services to Canary Wharf in seven minutes when trains start running in 2022.

A show home is available to view on-site.

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