Queen Elizabeth Olympic Park Archives

October 22, 2026October 22, 2026

NABA London opens campus at Here East in Stratford

Nuova Accademia Di Belle Arti expands outside Italy for the first time with a facility in the Queen Elizabeth Olympic Park

NABA London has opened its doors at Here East - image Peldon Rose / peldonrose.com — NABA London has opened its doors at Here East – image Peldon Rose / peldonrose.com

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Milan, Rome and now Stratford.

Here East in the Queen Elizabeth Olympic Park is already home to the University Of Staffordshire London, UCL, Teesside University London and Loughborough University London.

Further enriching the educational mix in the buildings that once housed the press and broadcast operations for the 2012 Olympic Games, is a creative arrival from Italy.

Founded in 1980, the Nuova Accademia Di Belle Arti (NABA) recently opened its first international campus at the east London hub, taking space adjacent to LMA, a creative industries and performing arts school.

Both are part of Galileo Global Education – a private education provider based in France that operates more than 110 campuses, serving 300,000 students worldwide.

NABA’s east London facility is the academy’s first site outside Italy and represents an evolution of a brand that’s well known in its country of origin.

The academy brings making and thinking together - image by Peldon Rose / peldonrose.com — The academy brings making and thinking together – image by Peldon Rose / peldonrose.com

thinking and making

“Our campuses in Milan and Rome have a reputation for combing the academic side of study with practical elements – thinking and making,” said Diego Mattiolo, school director and head of education at NABA London.

“In London, we wanted to keep that theme of practicality and marry it with UK academia.

“You might be studying fashion design here, for example, and within that you’ll have modules on drawing and styling – the theory – but you’ll also learn pattern-making.

“In the first year our students learn how to make a women’s skirt, but within that they’ll be looking at fabric culture and experimenting with colours and techniques.

“Our students learn the theory but also hone their practical skills at the same time. I always say it’s about helping them find their voice.

“A student might come to us with no interest in knitting and then come here and discover it’s what they want to do.”

The newly minted campus, which is just starting to welcome its first intake, has a capacity of around 500 students and all the facilities necessary to deliver the three undergraduate courses it’s currently offering.

Diego Mattiolo, school director and head of education at NABA London - image by Jon Massey / Wharf Life — Diego Mattiolo, school director and head of education at NABA London – image by Jon Massey / Wharf Life

always on-trend

“One is in design, one in fashion design and one in fashion marketing and management – all accredited by Regent’s University London,” said Diego.

“We also offer a foundation programme and we’re looking at introducing postgraduate options.

“We look at the trends and the market before we decide whether a new course should be run or not.

“We’re looking at what skills employers are lacking, what skills the students feel they need and then see how those can best be married together.

“Evolving together with industry is a necessity. Our fashion courses have always included photography, but now that module includes AI.

“We shouldn’t shy away from these tools because when people go to the workplace, that might make the difference between two different applicants going for a job.

“Some take a view that AI should never be used in classrooms, but we feel that isn’t helpful.

“Instead we have a scale that helps students understand what they can use it for when given a particular task.

“It’s not about telling people they can’t use something but showing them how it might be helpful.”

NABA London has been thoughtfully designed for its function - image by Peldon Rose / peldonrose.com — NABA London has been thoughtfully designed for its function – image by Peldon Rose / peldonrose.com

joining a creative cluster

NABA recruits both domestically and internationally, trading partly on its location.

Here East is now a bustling place with more than 6,500 students and professionals on site.

It’s home to V&A East Storehouse and is close to the BBC, London College Of Fashion, Sadler’s Wells East and V&A East at East Bank with direct links to an increasingly vibrant Stratford beyond.

“There was no question of basing NABA anywhere else,” said Diego. “It’s important our site is accessible and the Elizabeth Line puts Stratford about 13 minutes from central London.

“You have all the amenities close by, but also vibrant areas such as Hackney Wick.

“The other thing you get here is a boutique, tailored service as a student. You’re not just one person in hundreds. This campus is not huge, so we get to know each other.

“It’s one of our biggest selling points. We are able to offer a level of service that takes in aspects such as welfare, safeguarding, tutorials and attendance on an individual basis.

“Our class sizes are 24 for practical sessions and about 30 for theoretical modules.

“The lecturers really get to know their students and we have labs packed with equipment like laser cutters, 3D printers and machines for dyeing fabrics.

“Personally, my door is always open. Students are welcome to come in and I love those interactions.”

In some senses Diego’s own journey echoes what NABA is aiming to do in London. Originally from Monza to the north of Milan, he spent time in Germany, France and the UK while studying languages as a teenager.

After graduating, he relocated to the USA for five years. Initially a planned visa break in Cambridge, which was intended to last six months turned into a career teaching English as a foreign language, eventually gaining experience in setting up educational sites in the UK and even in Dubai.

While he’s been in Britain for 15 years, he’s unmistakably Italian, albeit with something of an English flavour.

“NABA London offers a chance to learn the Italian way – the processes and procedures – but we’re also international,” said Diego.

“That’s something this city does very well. It’s British culture but all mixed up with influences from around the world.

“Our staff come from many different places and each brings their own twist on what we do.

“You can’t take Made In Italy out of that country, but we’re offering it with an English accent.

A classroom at the newly opened campus - image by Peldon Rose / peldonrose.com — A classroom at the newly opened campus – image by Peldon Rose / peldonrose.com

key details: NABA London

NABA London’s campus is located at Here East in the Broadcast Centre. You can find full course listings and more information via the link below.

Course fees start at £13,400 for a foundation year in 2027.

Find out more about the campus here

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August 12, 2026August 12, 2026

The Dance Floor at Sadler’s Wells East set to offer free classes

Programme of lunchtime sessions builds on success of first year that saw more than 6,600 people participate at East Bank venue

Sadler's Wells East has unveiled a new programme of free, lunchtime classes on The Dance Floor - image by The Capsule — Sadler’s Wells East has unveiled a new programme of free, lunchtime classes on The Dance Floor – image by The Capsule

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A fresh programme of free dance classes is set to begin at Sadler’s Wells East in September.

Held on Mondays, Wednesdays and Fridays from September 14, 2026, the initiative takes place on The Dance Floor at the East Bank venue, a deliberately public-facing space on the ground floor that looks out over the Queen Elizabeth Olympic Park.

“In our first year we had more than 6,600 people participate in these classes,” said Natasha Anderson.

“And that’s just one of the ways we use the space.

“Creating The Dance Floor when Sadler’s Wells East opened was done with the vision that dancing in the foyer, on the stage and in the rehearsal rooms upstairs are all the bread and butter of what we do.

“It’s positioned by the window so there are lots of people passing by who see what’s going on and come in to take a look.

“The floor feels like our most welcoming space, so we spend a lot of time thinking about the dance styles we want to showcase on it, the type of artists we’ll feature and what we’re going to teach people.”

Natasha Anderson of Sadler's Wells East - image by Jon Massey / Wharf Life — Natasha Anderson of Sadler’s Wells East – image by Jon Massey / Wharf Life

welcoming people in

As Sadler’s Wells head of community engagement, Natasha is tasked with reaching out beyond the organisations’ walls to connect with residents, organisations and visitors, with The Dance Floor central to those efforts in Stratford.

“People might just stop by to visit the café or the toilets at Sadler’s Wells East,” she said.

“No matter how you come into this building, we want you to feel welcome and that this space is for you.

“The Dance Floor is our shop window and it’s one we’re really proud of, whether that’s the classes we’re hosting or the performances we’ve programmed.”

From September 14, there will be free lunchtime classes three times a week, this season covering Afro-Caribbean Fusion, Funky Social Dance and Reggae + Soul Line Dance.

These are suitable for all ages, but under-18s must be accompanied by an adult.

A free class on The Dance Floor - image by Sylvie Belbouab — A free class on The Dance Floor – image by Sylvie Belbouab

a place where friendships start

“I tell people to expect the unexpected in terms of how they’re going to feel,” said Natasha.

“People who are dancing for the first time often come with hesitation and trepidation, but they leave with such big smiles on their faces because they’ve had so much fun.

“It’s been a place where friendships have started – those interactions are so important for mental health, as well as the physical benefits of getting on the floor and dancing.

“There are so many joyful things that happen to your body when you move to music – serotonin levels rise and it makes you feel good.

“We work with a pool of really talented teachers who work in a variety of different styles. The important thing for us is to set a bar for positivity – that’s really important.

“I encourage as many people as possible to take part in these classes, including our own staff.

“They can be a real jumping off point for people to discover what they like and then to find other places to dance too.

“New this term will be the Reggae + Soul Line Dancing – it’s something that’s really big in the States. We ran a trial session in June and it went down really well.

“People might know the steps to Candy from parties, but there so much more to explore.”

The space is used by a wide range of ages in a variety of ways - image by Sylvie Belbouab — The space is used by a wide range of ages in a variety of ways – image by Sylvie Belbouab

an extensive programme on The Dance Floor

That sentiment is one that also extends to The Dance Floor’s wider programme – for example, its key role as a stage for The Music Is Black Festival’s series of free live weekend performances that have been taking place this summer.

Natasha said: “The community groups we work with use it as a performance space too and we’ve had some really lovely feedback.

“For a lot of the groups we work with, getting the support, the care, being heard, being seen and respected, has been really amazing.

“We’ve even had some dancers ending up on stage because they performed here on The Dance Floor and were seen by artists putting on shows here.

“We also use it in our work with schools across east London for our regular Creative Classroom sessions.

“We have set times when anyone can come and use the space called The Floor Is Yours – people just need to sign in and then they can get moving.”

Natasha, who worked for the Barbican before joining Sadler’s Wells, said she especially enjoyed watching young children dancing with their adults at the regular Family Freestyle sessions, which are also free but need to be booked in advance.

She said: “Early development is so important.

“These are for kids aged 2-4 but the sessions aren’t a drop-off.

“We want the parents, grandparents and carers to dance with their toddlers.

“We teach them how to dance with their child. Especially the older generation love it.”

The Dance Floor at Sadler's Wells East in action - image by Nick Kane — The Dance Floor at Sadler’s Wells East in action – image by Nick Kane

key details: The Dance Floor

Free lunchtime classes run at The Dance Floor in Sadler’s Wells East on Mondays, Wednesdays and Fridays from 1pm-2pm, starting on September 14, 2026.

They are free to join, with participants simply registering on arrival at the venue’s Welcome Desk.

Class listings are available here.

Family Freestyle sessions take place on Thursdays, from September 14 and are also free but must be booked in advance, suitable for ages 2-4 accompanied by an adult.

You can also find the full programme of events taking place on The Dance Floor via Sadler’s Wells’ website here.

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June 8, 2026June 17, 2026

Barge East unveils Hackney Wick canalside party offering

With two boats, a garden, a terrace bistro and outdoor party space, the venue offers flexible spaces for summer celebrations in east London

Barge East is located at Sweetwater Mooring on the edge of the Queen Elizabeth Olympic Park - image by Barge East — Barge East is located at Sweetwater Mooring on the edge of the Queen Elizabeth Olympic Park – image by Barge East

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Venues that offer events organisers true variety are rare.

But Barge East in Hackney Wick is a complex of vessels and facilities that presents a wealth of possibilities.

Located at Sweetwater Mooring on the edge of the Queen Elizabeth Olympic Park, it boasts a fine dining floating restaurant, a riverside terrace, a garden, a sister ship that sells drinks and gelato and plenty of space to stretch out alongside the River Lee Navigation canal.

It even offers paddleboard, kayak and canoe hire and that’s before you even mention the connections to DJs, live music and entertainers.

Fine dining is available on board - image by Jon Massey / Wharf Life — Fine dining is available on board – image by Jon Massey / Wharf Life

flexible options for all kinds of function

“We’ve got space at Barge East for almost any type of function, from weddings to corporate away-days and festival-style summer parties,” said Stuart ‘Tommo’ Thomson, one of the three founders of the business.

“We’ve got restaurants, with outdoor menus and terrace menus, with Parisian bistro-style, and our street food menus with amazing burgers.

We’ve got food across different price points, and all of it is sustainably sourced, using responsible suppliers.

“There’s our 125-year-old Dutch barge and the Milk Float, a more modern wide beam vessel with a beautiful sun deck that overlooks the London Stadium.”

Executive chef Kayla Dimmick and her team hard at work in the venue's kitchen - image by Jon Massey / Wharf Life — Executive chef Kayla Dimmick and her team hard at work in the venue’s kitchen – image by Jon Massey / Wharf Life

In addition to adding this new ship to the fleet, Barge East is also now operating the Moo Canoes hire business, allowing people to explore east London’s waterways via stand up paddleboard, canoe or kayak.

“We can offer all sorts of activities and events at Barge East for groups of any size.

“We can organise garden games, entertainers and live music outside and we’re happy to signpost Bola Beach Tennis next to us and work alongside them in collaboration.

“Companies are welcome to use Barge East for a whole day or use us as a base to explore the area.

“There’s so much going on around the Queen Elizabeth Olympic Park and Hackney Wick.

“We’ve even introduced a litter-picking day every month where groups go out on the boats, help clear the waterways and then swap the bag of rubbish they’ve collected for a beer.”

Barge East offers bistro style dining on the canalside - image by Barge East — Barge East offers bistro style dining on the canalside – image by Barge East

space for summer parties

Barge East is located a short walk from Hackney Wick station and can also be easily accessed from Stratford.

The boat itself can handle standing receptions for up to 80, while its Terrace and Gardens can take up to 150 and 300 respectively.

The Milk Float is suitable for standing parties of up to 80 and all of the venue’s spaces can be booked in combination.

Barge East offers a wide range of party packages starting at £15 per head.

Executive chef Kayla Dimmick oversees all the food on-site including dishes created with ingredients from the venue’s edible garden.

Those seeking a deal can visit Barge East’s Terrace on weekdays from noon-4pm to indulge in its £10 lunch offer and enjoy a Chicken Burger or Mushroom Burger with a drink for a tenner.

The Milk Float has joined the Barge East fleet - image by Barge East — The Milk Float has joined the Barge East fleet – image by Barge East

key details: Barge East

Barge East, the Milk Float and Moo Canoes are located at Sweetwater mooring.

Full details of all the spaces available and opening hours can be found here

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April 22, 2026April 22, 2026

V&A East Museum aims to inspire young visitors with its galleries

Opening of major cultural venue at East Bank in Stratford is another key piece in the 2012 Games’ legacy at the Queen Elizabeth Olympic Park

V&A East Museum is located at one end of East Bank - image by Jon Massey / Wharf Life — V&A East Museum is located at one end of East Bank – image by Jon Massey / Wharf Life

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“This is a place of dreams and possibilities,” said Gus Casely-Hayford, director of V&A East.

“What it needs now is people to come in and make them real.”

Speaking at the launch of V&A East Museum, the more prominently located second half of the west London institution’s new empire in this part of the capital, there’s a thrill in his voice.

Storehouse, located at Here East, has been a resounding success, welcoming 600,000 visitors through its doors since it opened last year, despite being somewhat tucked away amid the fabulous sprawl of the Queen Elizabeth Olympic Park.

The new museum sits on one end of East Bank beside the London College Of Fashion, the new BBC Music Studios and Sadler’s Wells East.

Its opening is a key part of the 2012 Games’ cultural legacy.

Just like the South Bank, these buildings are statements of intent, powerhouses for the arts rising proudly above Waterworks River with the V&A’s golden geometric concrete arguably the most visually striking.

But for Gus, it’s the flow of young minds in and out of its doors that he and the team care most about, the museum’s connection to the community.

Gus Casely-Hayford, director of V&A East – image by Jon Massey / Wharf Life

becoming the ladder

“East London is the place that gives us Alexander McQueen, David Bailey and so many other creators who had to struggle and fight in their fledgling careers to get their feet on the first rung of the ladder,” he said.

“For all those future makers and artists, we want to be there as that ladder.

“It shouldn’t just be middle class kids who have an uncle who works in film or an aunt who runs a gallery that succeed.

“It’s wonderful they have those opportunities, of course, but how do we ensure that those without those advantages in east London can get purchase on careers in the creative industries?

“I’m proud of the sense of possibility we’ve created here.”

Over simplifying, if Storehouse is a place to hold, look after and offer access to the 280,000 objects in the V&A family, chronicling some 5,000 years of human creativity, V&A East Museum is a place to show them off in tightly curated, thought-provoking ways.

To that end, it features two permanent Why We Make galleries, packed with treasures that are free to view.

There’s also an exhibition space, currently occupied by The Music Is Black: A British Story, which aims to illuminate 125 years of black British music via exhibits, stories and sound.

On its fifth floor there’s a terrace and another free exhibition, Dispersal, which captures the businesses that called this part of London home before the Olympics.

Then, on its lowest level, there’s Café Jikoni, a partnership with a restaurant group known for “cooking across borders”.

Even on press day it’s easy to see how these spaces will quickly fill with visitors, thanks in part to a programme of free live events, including a takeover by DJ Nia Archives, workshops and talks.

Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries - image by V&A East Museum — Molly Goddard’s Daria dress, once worn by Beyoncé, features 61 metres of tulle and takes pride of place in the Why We Make galleries – image by V&A East Museum

V&A East Museum – built for the community

“When I came into my role, it was at the time of the pandemic and we built a team and an idea through remote working,” said Gus.

“Part of that was informed by that period, but we wanted to create connectivity – an institution able to connect with the community.

“As soon as we were able, we got out there to see those communities, to talk to them and ask them what they wanted at the V&A East museum.

“They were really keen to tell us.

“I loved it because I got to visit more than 100 schools within a bus ride, speaking in assemblies and asking them what we should offer.

“Listening to them, many of those young people were frustrated.

“They aspired to work in the creative industries but had little or no understanding of how they might do it.

“We saw that there was a desperate need for institutions like V&A East and for young people to get engaged with them.

“So we worked with them – more than 30,000 people consulted on every area of operational and curatorial delivery.

“I hope this is an institution that reflects their aspirations, hopes and dreams and that visitors will see that as they walk through these spaces.

“Our permanent galleries are called Why We Make because we thought making was a theme that would really speak to young people.”

Robes worn by a Daoist priest - image by V&A East Museum — Robes worn by a Daoist priest – image by V&A East Museum

respecting the residents

“Everything here has been part of us demonstrating our respect for this place and its populations,” added Gus.

“I can’t wait to see people come streaming through these doors and absolutely fall in love with this space.

“It’s a different kind of museum, which I hope will appeal to a different kind of audience.

“The building is extraordinary. Architects O’Donnell + Tuomey have created a kind of multi-faceted jewel with gold-faced concrete and it’s absolutely exquisite.

“Inside, it has these astonishing geometric windows, which mean that almost anywhere you are, you can see out across the Olympic Park that surrounds us.

“You get a real sense of where you are when you’re inside.

“They also created circulation spaces where you can come in the entrance on the lower ground floor and walk all the way up the five floors above without encountering a door.

“We are living in societies which can feel very fractured.

“We’re located next to one of the biggest shopping centres in Europe and I hope we’ll become a place of gathering.

“Shops are wonderful, but they aren’t places of civic convening.

“We want this to be a place where particularly young people can come, hang out, learn things, but they can also be inspired.

“It’s a wonderful privilege to be the inaugural director of V&A East – it’s probably the best job in the cultural sector.

“My hope is that, as time goes on, it will also be a place where they don’t just find opportunities to remake themselves, but also to remake V&A East.”

This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland - image by V&A East Museum — This Paimio armchair by Alvar Aalto was designed for a tuberculosis sanatorium in Finland – image by V&A East Museum

key details: V&A East Museum

V&A East Museum is located at East Bank on the edge of the Queen Elizabeth Olympic Park.

You can find out more about the institution here.

Entry to the building is free, although tickets to see The Music Is Black: A British Story start at £22.50.

Concessions for students and those under 26 are available.

Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum - image by Daniel Newman — Skin of Skunk Anansie performs at Glastonbury. Her Clit Rock suit can be seen at V&A East Museum – image by Daniel Newman

tried + tested: V&A East Museum

Any way you cut the complex geometry of V&A East Museum, it’s a fantastic addition both to the Stratford skyline and Newham’s cultural heft.

What Gus says about the relentless focus on connecting its spaces to the local community finds its proof in the new institution’s galleries.

The Why We Make spaces are refreshing. Superficially incongruous treasures – everything from glacial stupas to healing chairs and Daoist robes – are sewn together with a golden thread of locality.

Walk into the lower of the two galleries and you’ll immediately be confronted by Molly Goddard’s hot fuscia Daria dress, an east London creation that features 61 metres of tulle and was once worn by Beyoncé.

I’m left with no choice but to knock off a star because (teething troubles) my radar-linked Sennheiser headphones provided for a stroll round The Music Is Black: A British Story, failed to function properly.

This left me with a loop of the intro melody, rather than the 120 tracks promised.

My guess is that given this exhibition is about music, it’s probably better when you get to hear it.

However, even without the gospel, soul, rap, r’n’b, blues, rock, folk and grime, it’s a collection worth viewing thanks to the variety and vibrancy of the exhibits.

Here too, thanks to kids from the Lansbury Estate, Dizzee Rascal, Billy Ocean and countless performers still gigging at the likes of Boisdale Of Canary Wharf, the east is ever present.

Deep cuts.

****

4/5

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April 10, 2026April 10, 2026

Barge East expands fleet as Kayla Dimmick takes over kitchen

Floating restaurant and canalside hospitality venue brings Milk Float into its orbit as spring menu, kayak hire and more arrives beside Hackney Wick

Barge East executive chef Kayla Dimmick and her team, hard at work in the floating venue's kitchen - image by Jon Massey / Wharf Life — Barge East executive chef Kayla Dimmick and her team, hard at work in the floating venue’s kitchen – image by Jon Massey / Wharf Life

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Spring is a season of renewal and the team at Barge East are looking forward to the warmer months.

With Easter out of the way, the floating restaurant and canalside destination has a lot lined up over the coming weeks, with a new menu and a fresh offering on land and water.

Kayla Dimmick has officially taken the tiller in the kitchen as Barge East’s newly appointed executive chef, setting the course of all food on board and by the towpath.

Originally from California, she trained at Le Cordon Bleu and cut her teeth at the Water Grill in Los Angeles before embarking on a career in high-end catering, cooking for the likes of Jennifer Lopez, Pharrell, Maroon Five and Reese Witherspoon.

She said: “I think my grandma has a huge impact on me because we were always in the kitchen.

“I’m half Japanese and she taught me how to bake dishes from Japan. The other influence was watching the food networks.

“Going to do my diploma at 19 was great because it gave me a really good grounding in the science of cooking.

“When you’re baking, for example, you need that knowledge, because everything has to be so precise and there are so many variables.

“It’s not just following the recipes, it’s about knowing how to adjust them to the humidity of the kitchen, for example.

“I really wanted to work in London – a move to a different country was getting me out of my comfort zone – and I was sponsored to do that by Barge East’s former executive chef, Stefano Camplone.

“I started off as sous-chef three years ago and I really liked the ethos of the restaurant – the food has always been very seasonal and sustainable.”

Stracciatella (the creamy bit in a burrata) served with a lush garnish of peas, broad beans, cucumber, thai basil and broccoli flowers (£11.50) - image by Jon Massey / Wharf Life — Stracciatella (the creamy bit in a burrata) served with a lush garnish of peas, broad beans, cucumber, thai basil and broccoli flowers (£11.50) – image by Jon Massey / Wharf Life

a taste of spring

Promoted to head chef and now executive chef, Kayla recently unveiled her first menu in her new role, ably assisted by fellow cook Solomon Aveyard.

“Our dishes always start with the ingredients – that’s where the inspiration comes from,” said Kayla.

“We bring in our suppliers, look at their sample boxes, taste them and then base our plans on what we will be growing in our waterside garden.

“It’s amazing to have that just next to the boat and it means we have fresh ingredients we can use every day.”

Kayla’s spring menu features snacks, small plates, large plates and sides as well as a choice of three desserts.

Highlights include Wildfarmed Foccacia with foraged wild garlic butter that boasts a substantial, meaty texture (£2.50), Lamb Belly Skewers with gooseberries from the garden (£9.90) and Stracciatella (the creamy bit in a burrata) served with a lush garnish of peas, broad beans, cucumber, thai basil and broccoli flowers (£11.50).

A top large plate choice is Beef Rump, rich red and juicy with a turnip cake, a chunky halved courgette and a bordelaise sauce (£32).

There’s a relentless focus on quality, spare, elegant presentation and freshness.

Kayla started at Barge East as sous chef and is now in charge of all of the venue's food - image by Jon Massey / Wharf Life — Kayla started at Barge East as sous chef and is now in charge of all of the venue’s food – image by Jon Massey / Wharf Life

sweet flavours at Barge East

“My favourite dish is actually one of the desserts,” said Kayla.

“When I was training, people used to call me Betty Crocker because of how well my baking turned out.

“I like measuring everything, there’s an exactness about it.

“Instead of a traditional rum baba, we’re serving a version with fermented Japanese plum wine – it’s potent, very citrussy and flavourful, which fits perfectly with forced rhubarb and a diplomat – a combination of crème anglaise and whipped cream.

“It’s rich and then you have that sharpness – it’s delicious.”

Barge East has been awarded two AA rosettes for the past three years running and will continue its fine dining offering aboard the Dutch vessel.

However, its presence on land is growing and changing.

Barge East will continue to serve up fine dining on board with an expanded canalside offering this summer - image by Jon Massey / Wharf Life — Barge East will continue to serve up fine dining on board with an expanded canalside offering this summer – image by Jon Massey / Wharf Life

expanding Barge East outside

“Outside we have huge plans for the spring and summer,” said Kayla.

“We’ll soon be launching an area called The Terrace, which ties in with the food on the boat but in a bistro style.

“It will be outdoor table service with a Parisian vibe, serving snacks, steak frites and a plat du jour.

“Then we’ll be moving our street food offering to the garden.”

That shift comes as Barge East has added to its fleet, taking over neighbouring vessel the Milk Float, which will serve a selection of drinks as well as chilled treats from east London’s La Gelatiera.

This will also provide a base for canoe, kayak and paddleboard hire on the canal.

It’s a significant expansion for a business that started with three friends – Ryan, Blandy and Tommo – sailing Dutch Barge De Hoop over from Holland with the aim of turning it into a restaurant.

Beef Rump, rich red and juicy with a turnip cake, a chunky halved courgette and a bordelaise sauce (£32) - image by Jon Massey / Wharf Life — Beef Rump, rich red and juicy with a turnip cake, a chunky halved courgette and a bordelaise sauce (£32) – image by Jon Massey / Wharf Life

on the water for the summer

“We’re planning to open the Milk Float from April 30, 2026, with the aim of turning it into more of a cafe, floating bar and an events space,” said Stuart ‘Tommo’ Thomson, who also runs Skuna Boats in Canary Wharf.

“It’s going to have the best gelato I’ve ever tasted – selecting them from a choice of 60 was one of the best things I’ve done since we started the restaurant.

“We’re really excited about the summer – Hackney Wick always feels like a festival when the weather is warmer because there’s so much going on.

“We’re also looking at the mooring on the other side of us to see what we might be able to do on the water with that – we’re always looking to make things more vibrant on the water.”

In the more immediate future, Barge East also has plans in the works for a brunch offering, aimed at attracting weekend diners earlier in the day.

“I’m really excited about this,” said Kayla.

“I want to create a menu of really good brunch staples so we can add that to the offering.

“Everything is still to be confirmed, but I’d love to do a take on a salt beef bagel with hot mustard.

“Sometimes the meat can be quite dry, but I want to make one that’s really juicy on a really good quality bagel that we can source locally.”

Baba with Japanese plum wine and forced rhubarb at Barge East - image by Jon Massey / Wharf Life — Baba with Japanese plum wine and forced rhubarb at Barge East – image by Jon Massey / Wharf Life

key details: Barge East

Barge East is located in the Queen Elizabeth Olympic Park opposite Hackney Wick at Sweetwater Mooring.

The venue is set to be open seven days a week from April 30, 2026.

You can find out more here

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September 23, 2025September 21, 2025

David Bowie Centre delivers astonishing archive to the public

With 90,000 objects in its collection, the V&A Storehouse-based facility makes the granular detail of Ziggy Stardust, The Thin White Duke and so many more available to view for free

The David Bowie Centre at V&A East Storehouse - image by David Parry / PA Media Assignments — The David Bowie Centre at V&A East Storehouse – image by David Parry / PA Media Assignments

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“This archive, which has 90,000 items in it, shows David Bowie as an interdisciplinary artist, musician and cultural icon – an advocate for self-expression and reinvention,” said Dr Madeleine Haddon, curator at V&A East.

“The David Bowie Centre makes this collection accessible to everyone.”

As she speaks at the launch of the dedicated, permanent exhibition space, a huge video wall plays clips from the artist’s long and storied career.

There’s a flavour of worship about the place, perhaps even deification.

Madeleine speaks of Bowie’s wide and far-ranging impact on other artists, his varied creative processes and his willingness to experiment and collaborate with others in a reverent fashion as we gaze up into the mismatched eyes of the Thin White Duke, Ziggy Stardust and the rest.

In many ways, it’s not an unreasonable response. One of Bowie’s singular drives, it seems, was a desire to constantly archive and catalogue his endeavours.

This is evidenced by the artist’s numerous yellow post-its suggesting classification and categories that adorn much of the material.

Thus the David Bowie Centre at V&A Storehouse in the Queen Elizabeth Olympic Park’s Here East campus might, in some senses, be viewed as the one true repository of the icon’s relics.

A visitor considers exhibits on show at the new centre - image by David Parry / PA Media Assignments — A visitor considers exhibits on show at the new centre – image by David Parry / PA Media Assignments

the exhibits on show at the David Bowie Centre

“Behind me is a two-hour long film that traces Bowie’s live performances, music videos arranged chronologically, so you can see his evolution as a performer,” said Madeleine.

“We also have in here 200 objects from the archive that are on display, that trace his life and career, his creative processes arranged in these nine bays that look at his transformative creativity as a musician, a visual artist, a writer, designer and actor.

“Six will be on display for two years while the objects in the other three will rotate every six months in dialogue with contemporary issues we are exploring across V&A East.”

These are diverse altars of public worship, with costumes, notes and slices of his life.

Nile Rogers – who produced Bowie’s biggest-selling hit, Let’s Dance – has guest curated one, while another features Omikron: The Nomad Soul, a video game from 1999 that David did the music for, as an example of his futurism.

There’s lots to inspire and divert here, but really these displays are just a nod to the real function of the centre, one only made possible by its subject’s near fanatical amassing of his own story and its artefacts.

This is the astonishingly rare opportunity to really delve deeply into the granular residue of his creativity.

The centre includes a dedicated study room where anyone – not just academics and researchers – can, for free, order any item in the archive to view by appointment.

This is an extension of a service that’s available throughout the V&A’s massive collections.

Due to the depth of the Bowie archive, however, this presents a tantalising prospect for enthusiasts.

Of the 90k objects in the archive, 70k are pieces of paper that David and his team had already organised to some extent.

There are hand-written song lyrics, annotated scripts and sketches of ideas, costumes and props for various projects.

Their existence means that, for much of Bowie’s extensive output, there’s background material available to the public – concepts that never made it, comments from the time of creation and thoughts on the future.

Costume designed by Mark Ravitz and David Bowie, worn by David Bowie, to perform Man Who Sold the World, on Saturday Night Live in 1979 - image courtesy of the V&A — Costume designed by Mark Ravitz and David Bowie, worn by David Bowie, to perform Man Who Sold the World, on Saturday Night Live in 1979 – image courtesy of the V&A

the chance to dive deep

At the centre’s launch event, for example, I’m shown a series of designs for clothing and puppets to be used on Bowie’s 1979 appearance on Saturday Night Live with Klaus Nomi and Joey Arias as backing singers.

It’s the one where he sang The Man Who Sold The World.

There really is a thrill in seeing simple sketches by someone who achieved such success in their lifetime juxtaposed with the kind of doubtful notes we all might make on a pad of paper.

The crossings-out are a light reminder that Bowie was human, after all.

But the centre offers more than this.

Also in the study room when I visit is the actual costume Bowie wore for the show.

Modelled after Nomi’s aesthetic, the angular tux prevented David from walking, so he had to be placed before the mic by his artistic accomplices at the start of the performance.

This is the magic. The opportunity to see one-to-one designs springing so vibrantly off the page and into reality.

There’s a feeling visitors could, with a bit of research, replicate this with so many of the objects in Bowie’s archive, discovering the origin story of each piece.

A V&A Collections Access Officer handles a life mask by William Forsche of David Bowie’s face painted to resemble his makeup from Aladdin Sane – image by David Parry for the V&A

archiving himself

“Bowie saved everything from scribbled notes to elaborate sketches and is a powerful reminder that no idea is too small and that the creative process is worth documenting at every stage,” said Madeline.

“You get to see that behind the scenes here at the David Bowie Centre.

“This approach is one that is a rich legacy for all artists in all disciplines and all backgrounds who we hope will come and visit us here.”

It’s worth noting, perhaps, that while the Bowie archive does lend itself to detailed exploration, those visiting Storehouse who simply wish to drop in will still be rewarded.

The centre works on many levels. There are easily accessible copies of some of the archive’s popular documents on show and the bays of exhibits to enjoy.

There’s also the seemingly endless barrage of images from the video screen and an especially curated soundtrack of Bowie’s songs. But most of all, visitors will be left with the unmistakeable impression of complexity.

As an artist known for his constant reinvention, seeing the working behind the illusion only impresses at the sheer relentless energy it must have taken to achieve so much.

Asymmetric catsuit David Bowie wore as Ziggy Stardust, designed by Kansai Yamamoto in 1973 - image courtesy of the Victoria And Albert Museum — Asymmetric catsuit David Bowie wore as Ziggy Stardust, designed by Kansai Yamamoto in 1973 – image courtesy of the Victoria And Albert Museum

key details: David Bowie Centre

Entry to V&A Storehouse at Here East in the Queen Elizabeth Olympic Park is free and includes access to the David Bowie Centre.

The museum is open from 10am daily and usually closes at 6pm except on Thursdays and Saturdays when it’s open until 10pm.

Find out more about the new centre here

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August 24, 2025August 22, 2025

Dancing City 2025 promises to fill Stratford with free performances

The Greenwich + Docklands International Festival returns to Newham with a packed programme of movement stretching across the area’s spaces

GDIF has teamed up with Fire Island Dance Festival to present a trio of shows including Layl (Night) at Dancing City - image by Nina Wurtzel — GDIF has teamed up with Fire Island Dance Festival to present a trio of shows including Layl (Night) at Dancing City – image by Nina Wurtzel

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As the Greenwich + Docklands International Festival draws to a close, Stratford is preparing to welcome a packed programme of free spectacles for a second year.

A total of 15 shows are set to arrive at locations across the area for this year’s Dancing City on Saturday, September 6. All will be performed at least twice.

“We were in Stratford very successfully last summer,” said Bradley Hemmings, GDIF founder and artistic director.

“The area has been transformed in the most remarkable way over the last few years, especially since the 2012 Olympic and Paralympic Games.

“The advent of the new East Bank cultural quarter, which includes phenomenal outdoor spaces was the focus for Dancing City in 2024.

“This year we’re bringing 15 dance companies together here.

“Much of the action will take place in the town centre, with audiences also able to cross over to East Bank and into the Queen Elizabeth Olympic Park to see more performances.

“We’ve expanded the programme for 2025 because we welcomed such large numbers to the shows last year we wanted to make sure we could spread over the wider area.”

Raquel Gaultero will present 360º in the Olympic Park - image by La Gualtero — Raquel Gaultero will present 360º in the Olympic Park – image by La Gualtero

Dancing City highlights

The one-day festival, which runs from 1pm-6.30pm, will feature the likes of dancer Joe Powell-Main – the first wheelchair user to dance with the Royal Ballet – who returns to GDIF with Passionately Defiant.

Billed as a “joyous celebration of dance and disability pride, which challenges perceptions of classical ballet” the piece will be performed at 1.55pm and 3.30pm at Marshgate South next to UCL East in the Olympic Park.

Also in the park will be 360º, a constantly rotating 17-minute show from Columbian dancer Raquel Gaultero that promises “an all-encompassing evocation of female lived experience”.

This includes nods to childhood games, motherhood and connection to the planet.

As ever, GDIF’s programme seeks to celebrate both the cultural landscape of east London while also reaching out.

This year Dancing City will welcome a triple bill presented in partnership with Fire Island Dance Festival.

The trio of shows will each be performed three times simultaneously at East Bank’s Waterfront at 1pm, 3.30pm and 6.05pm.

Courtney's Diner will be presented as part of the Fire Island collaboration - image by Elyse Mertz — Courtney’s Diner will be presented as part of the Fire Island collaboration – image by Elyse Mertz

lighting the fire

Bradley said: “Each is led by LGBTQIA+ artists and they will be presented together.

“Fire Island Dance Festival in New York state is legendary.

“It was started in the 1990s in response to the AIDS crisis, which the area was very much at the epicentre of.

“It’s gone on to benefit people living with HIV across the US and beyond.

“The performances over there are on the waterfront with some of the most amazing staging I have ever seen.

“We’re trying to bring some of that energy to Stratford with these performances.

“What we’re also trying to do on September 6, 2025, is to create something that’s very permeable with shows taking place outside in public spaces.

“There will also be a link to Sadler’s Wells East at East Bank, which has been designed with a connection between the indoors and outdoors in mind.

“As part of Dancing City, we’ll be collaborating with them for One Sky, a performance that takes inspiration from South African kite festivals.

“It’s brilliant, taking place on the bridge over to the Olympic Park in front of East Bank in a celebration of togetherness.

“There’s something that happens at a festival like in public spaces like these.

“People share something and it’s very uplifting.

“It doesn’t happen very often, but we know from the feedback we get how grateful audiences are.

“We’re celebrating our 30th anniversary this year and I already have a very long list of what I want to do in the future.

“GDIF has always been about the community, the audiences who come to cherish the performances and the organisations that support us.

“We want to ensure we’re here for another 30 years.”

Ballet dancer Joe Powell-Main who performs with the aid of a wheelchair, will present Passionately Defiant - image by David Edwards — Ballet dancer Joe Powell-Main who performs with the aid of a wheelchair, will present Passionately Defiant – image by David Edwards

key details: Dancing City

Dancing City, part of the Greenwich + Docklands International Festival is set to return to Stratford on Saturday, September 6, 2025, from 1pm-6.30pm.

All shows are free, with multiple repetitions to allow audiences to see as many performances as possible.

Full listings and timings are available here

The wider GDIF programme includes performances in Greenwich, Woolwich and Thamesmead.

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November 28, 2024November 28, 2024

Hera aims to elevate Greek cuisine with opening at Stratford Cross

Recently opened restaurant and bar promises traditional flavours and dishes from Greece with a twist in presentation and approach

Hera is located at Stratford Cross between East Bank and Westfield Stratford City

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A s I walk into Hera in Stratford for the first time, I receive a warm, unabashed and vocal welcome from the staff.

While the interior of its expansive, double-height space has been filled with high-end decor, it immediately manages the challenging trick of coming off as welcoming.

Its owners might be from a different part of the Mediterranean, but they’ve successfully extracted the bonhomie from a bustling Athenian taverna and transplanted it to a ground floor restaurant at Stratford Cross.

Located off the main drag between Westfield and the Queen Elizabeth Olympic Park, Hera has opened its doors with a weather eye on the future.

It’s opposite V&A East Museum, which is set to become a major pull for visitors from 2026 and is right beside a new footbridge to the cultural and educational hub whose full complement of organisations will include the London College Of Fashion, BBC Music Studios and Sadler’s Wells East.

Visitors and students need to eat and drink and the owners are betting Hera, with its views over the park to the Hackney Wick skyline, will be well-placed to serve them.

Hera's main dining room — Hera’s main dining room

elevating Greek cuisine

“There aren’t many options in London for elevated dining when it comes to Greek food,” said Stefan Petrushev, the establishment’s marketing manager.

“While we look in some senses like a fine dining restaurant, we wanted to make our food and drink accessible – Stratford Cross is a modern area and we wanted to reflect that.

“The menu is Greek through-and-through, using seasonal ingredients with beautiful presentation on the plate.

“With the menu, we wanted to reflect different aspects of Greek cuisine such as seafood, vegetables and meat, but to make the dishes a little more intricate and sophisticated than you’d find in a casual dining setting.

“For example, with our starter of melitzano salata, everything is made fresh. It’s about taking people’s expectations and going beyond them with the flavours and the way the dishes look.

“One of the wonderful things about Greek cuisine is that there’s a simplicity to it – you can really taste everything that goes in.”

Marketing manager at Hera, Stefan Petrushev

small plates at Hera

Hera’s menu is split into starters ranging in price from £4 to £9.

Beyond that, it’s essentially a small-ish plates place with dishes split into Cold And Raw, Garden, Farm and Sea.

There’s a bone-in sirloin for £40 and a whole grilled sea bass for £35, but the majority come in between the mid-teens and mid-20s.

The aim is to encourage sharing and sampling, with dishes arriving when ready rather than in sequence.

“In the run up to our official launch, we’ve tried to think of everything,” said Stefan, who grew up in Canning Town.

“It’s lovely during the day but at night it’s especially beautiful with all the lights visible through the window.

“The location doesn’t seem perfect yet, but it will be.

“With all of the openings at East Bank, we’re playing the long game.

“We’ll be right in the heart of it, especially with the unveiling of the new bridge, which will be the quickest way to reach the park from Stratford International station.

“In addition to the restaurant we will also have a winter garden which will be enclosed and fully heated in the winter and can then be opened up in the summer and that will be great.

“We’re also set on making sure we don’t replicate the formality of a West End restaurant.

“In terms of hospitality, we’re taking the things that work to ensure people get a professional service, but also the warmth of the Greek welcome.

“We’ll have the perfect lighting and the sexy groove of the music in the evening but without that intimidating atmosphere some restaurants can have.”

A warm, sweet pillow of Feta Saganaki, £13

indulging in drinks

Beyond the food, there are the drinks and Hera boasts an illuminated wall filled with colourful, inviting bottles.

“We felt there was a space for a really nice wine and cocktail bar in Stratford,” said Stefan.

“We only have our signature cocktails on the list alongside plenty of Greek wines – sparkling, white, red and orange.

“They’re so nice they can be a little dangerous to play with, especially the white.”

It’s a list designed to pair well with the dishes on offer, which feature a panoply of Greek flavours.

There’s a dish of baked feta, wrapped in kataifi and bathed in a rich bath of lemon honey.

Grilled octopus comes with a thick mashed swirl of fava beans, while beef meatballs are rich with mint and jazzed up by a little pile of tzatziki.

These are dishes to dip in and out of, a less stuffy and traditional take on a series of well-known classics.

Everywhere there’s honey, thyme and aubergine.

Stefan said: “If you’ve never really tried Greek food, we’re a great place to start because we focus on making things just that bit more special.

“If you’re going to a restaurant, you want to have an experience and that’s what we offer.

“We have an incredible space here and we want people to feel that personal touch – that this is food made by people who really care.”

Grilled octopus with fava beans at Hera, £19.90

key details: Hera

Hera is located on Arber Way at Stratford Cross and is within easy walking distance from Stratford International and Stratford stations.

It’s open daily from 11am-11.30pm. The winter garden is set to open in due course.

Find out more about the restaurant and bar here

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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

November 19, 2024November 19, 2024

V&A East Storehouse to bring something fresh to museum sector

V&A deputy director and COO Tim Reeve on the institution’s ambitions and plans for the Here East site

An artist's impression of V&A East Storehouse - image Diller Scofidio + Renfro — An artist’s impression of V&A East Storehouse – image Diller Scofidio + Renfro

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“I hope it will feel welcoming, but I also really like the idea of visitors wondering if they’re really allowed access to all these space, that maybe they’re somewhere they shouldn’t be,” said Tim Reeve, deputy director and COO of the V&A and chair of the East Bank Board.

We’re talking about the first of two sites that the museum is set to open in Stratford as it expands its offering across the capital.

V&A East Museum is set to launch in spring 2026 at East Bank and will celebrate making and the power of creativity to effect change in the world.

V&A East Storehouse, however, goes far beyond conventional displays and promises something entirely new.

Housed at Here East about a 10-minute walk across the Queen Elizabeth Olympic Park from East Bank itself, the V&A is creating a vast publicly accessible facility where its diverse non-display collection and archives can be looked after for the next century.

Spread over some 173,000sq ft, it is set to arrive first, opening its doors to the public on May 31, 2025.

V&A COO and deputy director Tim Reeve - image Jon Massey — V&A COO and deputy director Tim Reeve – image Jon Massey

a second site

“While we were engaged in the process of working out what V&A East Museum would be – how it would be distinctive and reflect the local geography and demographic of the people around East Bank – we were also talking to the Government about the future of Blythe House,” said Tim.

“That’s the place in West Kensington where we stored all our non-display collections – about 250,000 objects, 350,000 books and 1,000 archives.

“It was made clear to us, along with the Science Museum and British Museum – which also use it as store – that we needed to leave because the building was to be redeveloped.

“That was a pain, because you don’t want to be moving a collection of our sort more often than you have to, due of the delicacy of the objects and the expense.

“However, it was also a clarifying moment for the V&A East project with the idea that we could find a place for our Blythe House objects, books and archives and that we could create two sites in east London.

“We just needed to find a space big enough and close enough to East Bank to make sense. Looking at the two sites together, you get a complete 360-degree view of the contemporary museum world.”

tucked away: V&A East Storehouse

While V&A East Museum, with the dramatic angles of its purpose-built home at East Bank, will be the more visually striking, in content it will probably feel the more familiar of the two with galleries, exhibitions, a cafe and a shop.

Somewhat tucked away in the former Media And Broadcast Centre built for the 2012 Olympics, V&A Storehouse is deliberately radical.

Storehouse will be a place where our objects live and where we look after them,” said Tim. “We know people want to see what they’ve been told they can’t – where the magic happens.

“So V&A East Storehouse has been created to facilitate people’s exploration of the bit of our organisation that would normally be hidden – a visitor experience that’s self-guided and free every day of the year.

“We have an absolutely enormous, amazing space, where we can fit everything in, with some space to spare as the collection grows.

“We’re building some of our showpiece objects into it such as architectural fragments from the Robin Hood Gardens estate and we’ve come up with a public network of spaces intertwined with the collection.

“That will be a 60 to 90-minute, self-guided tour of exploration as people burrow their way up through the building and arrive in this incredible atrium.

“From there you can keep exploring and see how far you can get – it’s been designed to allow visitors to get as far as possible.

“Moving all our stuff from Blythe House is incredibly expensive, so we thought we might as well create a new world with it and that’s what we’ve done at Storehouse.

“The idea is you will breathe the same air as the objects we hold.

“A visit is the start of a journey and we hope people will come back when they realise they can browse as much as they like.

“Here East is a warehouse, an industrial building – not a marble-clad museum. It’s humble and we want as many people as possible to visit.

“It’s also a source to be mined and returned to, constantly changing as it’s also a working building with objects going out on loan or for conservation.”

A section of the Robin Hood Gardens estate is installed at Storehouse – image by V&A

east London influence

Designed by architects Diller, Scofidio + Renfro, Storehouse will be home to an extensive and varied collection including creative works from The Glastonbury Festival Archive, PJ Harvey and Elton John’s costumes, vintage football shirts, Dior and Schiaparelli haute couture, Roman frescos, samurai swords, mid century furniture and the iPhone.

A dedicated David Bowie Centre will showcase artefacts from the musician and performer’s archive with rotating displays set to open in September.

More than 100 miniature displays on the ends of storage systems will highlight specific exhibits including those relating to this part of the capital.

“There will be lots of east London influence in the way we’re displaying and interpreting the collection,” said Tim.

“Our piece of Robin Hood Gardens was the first thing we installed here because it’s so enormous.

“It’s one of the first things visitors will see when they climb the stairs.

“Our collection is international and so we want to bring out its full splendour, depth and range and there are some really wonderful east London stories we want to showcase, drawing inspiration from the connections with the local community we have built.

“I think walking in on opening day will be a really emotional moment.

“Colleagues across the institution have poured so much time and energy into it, through some really tricky moments, of which we’ve had more than our fair share.

“It’s the most important thing I’ve done in my professional life, and will probably be the most important thing I ever do.

“I feel I’ve been really lucky to be involved in creating such a project since 2013.

“You have a light bulb moment and think what it would be like to see it happen – to be around from beginning to end.

“There were moments when it felt like it might never happen.

“But as an institutional lift, it doesn’t get any better.

“And we are here for the long term.

vWe have a 100-year lease at Here East and 200 at East Bank.

“One of the biggest treats for us is seeing people who were here before the Olympics realising that these things are being created for their benefit.

“The interplay between the different types of organisations at East Bank make the future very interesting – a special destination.”

An artist's impression of the David Bowie Centre - image by IDK — An artist’s impression of the David Bowie Centre – image by IDK

key details: V&A Storehouse

V&A East Storehouse is set to open on May 31, 2025, at Here East on the Queen Elizabeth Olympic Park.

Entry will be free. The David Bowie Centre will open on September 13.

V&A East Museum will launch in spring 2026 at East Bank in Stratford.

Find out more about the openings here

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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 20, 2024September 20, 2024

Sadler’s Wells East unveils programme for first season in Stratford

Associate artistic director Rob Jones on what the new venue will bring to London’s dance ecosystem

Image shows Sadler's Wells associate artistic director Rob Jones — Sadler’s Wells associate artistic director Rob Jones

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“We’ve been talking about it for so long, now is the time to do it,” said Rob Jones, associate artistic director at Sadler’s Wells.

“We want people in the building, for them to be curious, to come along and have a cup of tea and meet friends – everyone’s welcome and we want them here.”

We’re discussing the opening of Sadler’s Wells East in Stratford.

While construction issues and re-jigs have delayed the launch, dates have now been released for the venue’s inaugural programme.

One of five organisations that make up East Bank on the edge of the Queen Elizabeth Olympic Park, the opening is especially significant for the campus as it’s the first building on site with a clear mission to bring visitors in.

For Rob and the team, it offers a theatre and facilities created specifically to address demand in London’s dance sector.

But it’s equally important to them that the new venue makes good on links the organisation has been building locally.

“We’ve been working with community groups for about six years now – a lot of groundwork to lay foundations,” he said.

“The content of the programme is important – we wanted to make sure there were multiple moments where local people could come and be in the theatre, whether that’s to watch performers on the community dance floor, take part in a monthly disco or just be in the space by visiting the cafe.

“Even in our first season we’ve included community casts for shows such as Our Mighty Groove, which will open the venue or Skatepark (April 10-12, 2025), where Danish choreographer Mette Ingvartsen has worked with local skaters.

“It’s about making sure we have those connections, going into local schools, for instance, with balletLORENT from Newcastle for their production of Snow White (April 16-19, 2025).

“We’ve been trying to make sure there’s something for everyone with as many access points as possible – not self-indulgent programming, but good quality dance.

“I think it’s going to feel really exciting and this first season is a test for us, in a way – we want to see how the community connects with the theatre and the programme, especially the free elements.

“That’s where the work really begins – making sure that the theatre belongs to local people.”

Image shows image of Sadler's Wells East in Stratford — Sadler’s Wells East is set to open in February 2025 – image David Hewitt

an opening spectacle at Sadler’s Wells East

Sadler’s Wells East will kick off its first season with Vicki Igbokwe-Ozoagu’s Our Mighty Groove with five performances split over February 6-9, 2025.

Inspired by New York club culture, it includes local dancers in the cast, with plans to bring it to the stage for more than a year.

“It’s existed in an immersive format before, but this is a new version and it’s had a whole revamp,” said Rob, who joined Sadler’s Wells a little over two years ago having worked extensively as a producer for the likes of Dance Umbrella, Roundhouse and Brighton Dome And Festival.

“It’s difficult to pick highlights, because you can’t have favourites but we’ve got a lot of work from companies in London coming to Stratford.

“For example, there’s Impact Driver (April 24-26, 2025) by artist and performance maker Eve Stainton where the seats in the theatre go away and it takes place in a container in the middle of the space.

“It’s an incredible immersive happening.

“It’s got live welding, guitars and sound systems set up on either side.

“When I first saw it, I wasn’t sure I would get it, but it’s one of the most magnetic performances I’ve watched in a long time – it’s really beautiful.

“Completely different, is a piece by choreographer Emma Martin from Ireland making her Sadler’s Wells debut as we spotlight international voices.

“Birdboy (February 20-22, 2025) is a work for family, suitable for ages 7+ all about being a loner and an outsider.

“But the character is also a superhero – a mash up of Batman – with a car that’s a time machine and a projector. It’s very vivid.”

Image shows dancers posing in promotion of Ourr Mighty Grove — Vicki Igbokwe-Ozoagu’s *Our Mighty Groove* will open the venue – image Camilla Greenwell

shows and education

The venue has announced more than 20 shows for its first season, including eight UK premieres and 10 commissions or co-commissions from the theatre.

That’s a statement of intent in itself, with a sense that Sadler’s Wells is firmly focused on making the most of the facility now it’s finally arrived.

“It’s a project that’s been a long time in the making,” said Rob.

“It began more than a decade ago as part of the legacy of the Olympic Games.

“The main space at Sadler’s Wells East has 550 seats and a stage that’s as large and agile as our main auditorium in Islington.

“Those seats can also go away so you have a giant black box that can host completely immersive productions.

“This reflects how people are working in dance now – increasingly moving away from traditional formats.

“Within the building, we also have studios and a very large space, which is the same size as the stage, where we can make projects to perform in the theatre.

“We’ve never had this facility before.

“There will also be two schools based at Sadler’s Wells East.

“The Rose Choreographic School supports artists to explore their practice and is led by leading choreographers.

“Then there’s Academy Breakin’ Convention, which will offer the UK’s first free Level 3 Extended Diploma In Performance And Production Arts specific to hip hop theatre to 16-to-19-year-olds.”

Image shows a dancer in Birdboy, a man bending over a smoking car — Emma Martin’s *Birdboy* will be performed in February – image by Luca Truffarelli

open to the community

“There are also the public-facing parts of the building,” added Rob.

“It’s really exciting, because people will have the opportunity to be more creative than they may have had in other dance spaces in the city.

“There’s a huge community dance-floor in the foyer, and you can see into one of the studios.

“I had this realisation earlier in the year – I’d been to see ABBA Voyage near Pudding Mill Lane and walking back it was clear that passers-by would be able to see people working and dancing at Sadler’s Wells East when we’re open.

“Often when visiting theatres you might see dancers milling around but unless you’re in the auditorium, you don’t see them dancing or get a real sense of the incredible magic which is being created in the building.

“That’s why this new space will have a completely different energy.

“It will be open all day and there will be an ‘always on’ feel.

“It will be a social space alongside all these other cultural institutions at East Bank.

“I think it’s going to be a crucial part of the hub.

“The five organisations at East Bank already meet monthly to discuss how we can collaborate and we’re all looking forward to being fully open.

“For Sadler’s Wells, the new venue is also going to broaden the lens of what we can do.

“With everything that’s going on in the world and how difficult arts funding is in the UK, artists need to be able to dance at mid-scale venues like this one.

“Our theatre in Islington has a capacity of 1,500 and there’s a studio that seats 80.

“This gives us something in the middle, which is important because we can support artists at the start of their careers, as they grow and at the top.

“There aren’t many places of this mid-scale size in London, so this provides a whole new facility for what’s possible in the capital and it’s a really exciting moment both for artists in the UK and internationally.”

*Impact Driver* features live welding as part of the performance – image by Anne Tetzlaff

diary dates for the first season

Tickets are set to go on general sale on September 25 for Sadler’s Wells East’s first season, so here are a few not to miss:

Top of the tree is obviously Our Mighty Groove, the show selected to open the venue – complete with local performers in the cast. Catch it from February 6-9, 2025
Looking further ahead, Inside Giovanni’s Room by Phoenix Dance Theatre tackles the themes of love, sexuality, guilt and self-acceptance in James Baldwin’s novel. See it June 11-14, 2025
Then, Over And Over (And Over Again) by Candoco and Dan Daw promises to take audiences to a place where “everyone is welcome; where you love doing something so much that you never want to stop”. July 2-4, 2025

key details: Sadler’s Wells East

Sadler’s Wells East will officially open its doors on February 6-9 , 2025, with five performances of Vicki Igbokwe-Ozoagu’s Our Mighty Groove.

Tickets for this (from £15) and other shows will be on sale later this month.

Full listings for the venue’s first season are available here

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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