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In the fifth of a series of articles charting the challenges facing Aldersbrook Medical Centre, Paul Wildish reports on the latest developments in the procurement of a permanent GP contract

Since February 2024, the patients of Aldersbrook Medical Centre (AMC), led by their Patient Participation Group (PPG), have been conducting a campaign to achieve a permanent settlement of GP providers of our choice from NE London Integrated Care Board (NELICB).

When the temporary contract expired, we wanted the providers from the Richmond Road practice in Hackney to remain, as they had introduced so many beneficial changes to what had previously been a failing practice. NELICB had other ideas and offered an extension of Richmond Road’s contract at a price they couldn’t afford. The PPG felt this could be construed as a ‘constructive dismissal,’ despite Richmond Road’s universally recognised award-winning clinical practice. We were determined to resist.

After public meetings, pickets at ICB HQ in Stratford and by enlisting the support of local councillors, our former MP John Cryer and Lord Victor Adebowale, Chair of the NHS Confederation, the PPG has engaged with the NELICB constructively to ensure the patients’ voice is heard during the next phase of designing and awarding a new permanent contract that corresponds with our needs. No other PPG in the UK has conducted a campaign of this kind to win such formal negotiating access to be part of the process of the procurement of a permanent GP contract.

What have we won so far? As this will be a permanent GP contract, we know corporate providers are excluded. The NELICB has recognised the AMC surgery must retain GP services on site and not become a part-time or inadequately staffed annexe of a local practice. We insisted the ICB came to meet patients at a public meeting at Aldersbrook Bowls Club to explain the procurement process, answer questions and take regard of patients’ views in the selection process. Our biggest coup has been the secondment of the AMC PPG’s chair Terilla Bernard to the ICB panel. This will put the contract out to tender, conduct the bidding process, interview the shortlisted GP bidders and ultimately select the successful GP team. Hats off to the ICB for taking such regard for the patients’ voice that they have invited Terilla on board to represent us. The procurement process is governed by rules of commercial confidentiality and the contract will meet official NHS specifications. Terilla has therefore been required to sign an NDA until the end of the procurement process. During this time, any negotiations will be under strict purdah.

Until the winner of the bidding process is selected in January 2025, due diligence has been carried out and the successful winners announced, the patients and PPG will remain on tenterhooks. The new, permanent contract will commence in March 2025. We sincerely hope our Richmond Road GPs will win.

For more information about the Aldersbrook Medical Centre Patient Participation Group, visit wnstd.com/amc

In the second of a series of articles by those leading the campaign to save The George, Martin Wheatley reflects on some of the qualities of Wanstead’s ‘pub for all seasons’

The George truly is a pub for all seasons. We see the newly legal drinkers showing their ID with an air of feigned indifference; young men and women enjoying their well-earned leisure time, perhaps even experiencing the spark of young love without the aid of an app; families, from toddlers to grandparents, gathering for a meal; retired couples on a budget treating themselves to a few drinks and perhaps a bite to eat; pensioners keeping warm in winter more cheaply than heating their own homes, with the bonus of a drink; single men nursing a pint; folk attending a wake and raising a glass to the departed.

How does The George achieve this? Value for money is a factor but not the only one. There is no muzak, conversation is possible without shouting. Admittedly, there are some televisions but they, thankfully, are silent. Whenever I’m at the bar, the screen seems to be showing news of ghastly goings-on around the globe, which only serves as a reminder of what I came to the pub to escape. There is a good selection of real ale (even if this isn’t your tipple, I would hope the preservation of this uniquely British drink in the uniquely British environment of the pub is something you’d support). And they take cash. Paying for a pint of cask ale with coin of the realm is by no means possible everywhere, not even in Wanstead!

Above all, it is a public house. All members of the public are welcome and can feel comfortable there.

So, what can be done to save The George? None of us is privy to the financial ins and outs behind the scenes, but I imagine the rent is not cheap. On top of that, pubs have been mercilessly targeted for taxation by all governments and for a long time. The George looks busy enough but, I should say, less so than in years past. All that we cherish in our communities – church, post office, independent shops – all that actually constitutes a community, will wither and die if we don’t make use of them.

Do sign the petition, do lobby your MP, do whatever you can, but above all, put aside social media, the podcast, the boxset and head pub-wards to The George for a drink.

“Change your hearts or you will lose your Inns and you will deserve to have lost them. But when you have lost your Inns drown your empty selves, for you will have lost the last of England.” Hilaire Belloc wrote those words in 1912. They still hold true but we are drinking in the Last Chance Saloon Bar.

From Paris to Newcastle to Wanstead, Bernie Clarkson now considers herself a local artist, with local scenes like Christ Church Green finding their way into her work

I’m totally passionate about painting and particularly oil painting, and this came about almost by accident. I was incredibly fortunate to live in Paris for four years in my fifties and this is where my life veered off at a totally unexpected tangent.

I’d always loved and made art of sorts, initially training as a fashion designer and then teaching art to lots of different age groups. However, my time in Paris freed me to take up painting, initially for fun, but very quickly it became all-consuming. So, when I returned to England, I was ecstatic to be accepted into Newcastle University’s Fine Art department. Six years later, with a hard-won degree and Master’s completed, I headed to London to be closer to family, not really believing my love affair with painting would continue and flourish. Yet, here I am in my shared studio in Manor Park, living and breathing this amazing subject. 

After a few house moves and renovations, I’m so lucky to now have a home in beautiful Wanstead and I’m more than happy to think of myself as a local artist, taking part in solo and group exhibitions, and thrilled so many lovely people have bought my work.

My daily practice combines painting, stretching canvasses, reading and researching, always looking for inspiration; the north-east coastline is always hovering and influencing my subject and colour choices.

As each painting progresses, it can often change enormously, and when it’s finished, I hope it carries a quiet narrative to the viewer, but also willing a slight tension to make it interesting.

I love the work of the German-American artist Richard Diebenkorn, who was heavily influenced by Matisse, another great love of mine. I had a wonderful mentor at university who helped me so much to explore ideas and dig into history as inspiration, paint and painter, society, breaking rules; there’s always so much to learn.

As a consequence of living through the pandemic and the close proximity of a newly observed nature during the daily rituals of getting fresh air and exercise, I’m finding local and coastal scenes are nudging into most of my work; either as a background to a figure or taking centre stage.

To view more of Bernie’s artwork, visit wnstd.com/bernie

Plans have been put forward for the restoration and improvement of two historic landmarks in Wanstead Park.

“Consultants have been appointed to develop options for the preservation of the Grotto, with costs ranging from £350,000 to £912,000. All options involve work to stabilise the structure, without which it could collapse. The future of the Temple is also being considered, with plans to make the building and its surroundings into more of a community hub,” said a Friends of Wanstead Parklands spokesperson.

Redbridge Council has been awarded £3m to transform the walking route between Wanstead Park, Roding Valley and Ilford town centre.

The funding – part of Greater London Authority’s Civic Partnership Programme – will be used to create a riverside path to connect existing footpaths into Roding Valley and open up access to green spaces.

“By improving pedestrian routes, we’re connecting Wanstead, Woodford and Ilford, making sure people from all parts of the borough can access all we have to offer,” said a council spokesperson.

Cadent has applied to set up a temporary compound on the Redbridge Lane West allotments ahead of work to the adjacent gas site.

“The original planning permission – approved in December 2022 – was for a compound on Wanstead Park Road. This variation effectively means returning to their initial plans to use our allotments as the main site. This has come as a shock and, apart from all the original considerations, likely means some plot holders waiting even longer to return,” said Sally Parker.

Visit wnstd.com/cvar

The growth in Wanstead Fringe events, particularly theatre, is spectacular, says director Jon Fentiman, who will be bringing Miss Julie (a play that was once banned in the UK) to a brand new Fringe stage 

September in Wanstead means the arrival of the Wanstead Festival (15 September) and its bigger brother, the Wanstead Fringe, our very own three-week celebration of music, film, books, performance arts, magic, local history, creative workshops, food, drink and even pre-loved treasures! With opportunities to enjoy everything from comedy nights to opera, stargazing to a jumble trail, events are dotted around our cafes, sports clubs, churches and even the local library, showcasing many of the wonderful venues Wanstead has to offer.

The growth in the number of events being organised this year is quite spectacular, with professional theatre productions leading the way and boasting over 50 performances. For Wanstead Fringe 2024, actor and theatre practitioner Marissa Landy has curated 10 different productions from both her own and visiting companies, some fresh from success at the Edinburgh Fringe, whilst Fiona Gordon’s brilliant Wanstead Theatre Co will be bringing six site-specific performances of Alan Bennett’s Talking Heads to City Place Coffee, the perfect venue.

As a director and producer for the East London Theatre Company, I am extremely excited to be bringing a production of the classic play Miss Julie to this year’s Fringe before it transfers to The Courtyard Theatre, Hoxton in October. Written by Strindberg in 1888, performances of Miss Julie were banned in the UK for half a century, only reaching British stages in 1939. For years, Miss Julie was considered just too provocative and inappropriate in its depiction of sexual desire and conflict between classes. Today, it is one of the most regularly performed plays in the UK and across Europe. Set in the servants’ kitchen on the estate of a Swedish aristocrat, the action centres around his errant daughter, Miss Julie, his lordship’s footman, Jean, and the house cook, Katrin. Although set at the end of the 19th century, like any classic play that survives the test of time, its themes – such as how we manage our desire for a better life whilst wrestling with the expectations of society and others – still resonate with a modern audience.

Running for seven nights, you will have the opportunity to enjoy the talents of three brilliant actors: Maria Naterstad (Miss Julie) and Lia Goresh (Katrin), both recent graduates of the internationally renowned East 15 Drama School, along with Chris Agha (Jean), who performs regularly at The Royal Opera House and prestigious off-West End venues. 

Grab a ticket and you’ll not only experience an exciting, intimate performance – staged in the round – but also be amongst the first patrons of The Wanstead Curtain, a new performance space which Wanstead Fringe volunteers have been allowed to create in the hall of Wanstead Methodist Church. Hopefully, see you there!

For more information on Wanstead Fringe events, visit wnstd.com/fringe

Wanstead Theatre Co has been a regular feature at the Fringe and this year, the company returns with Talking Heads. Fiona Gordon explains what to expect and the innovative way it’s being promoted

As a site-specific theatre company, where we perform the play in the place it is set, we are always on the lookout for suitable Wanstead venues. Over the years, Eton Manor (Breakfast with Jonny Wilkinson), The Bull (Two) and Our Lady of Lourdes (Bazaar and Rummage) have generously offered us their space and time.

And this year, it is City Place Coffee in the middle of our bustling High Street that has kindly agreed to host our production: the well-loved and universally acclaimed Talking Heads by Alan Bennett.

Filmed originally as a TV series in the late 80s and the early 90s, it was then remade during lockdown for a new housebound audience. It was one of the very few TV shows allowed to be filmed due to social distancing rules, as each episode only has one actor in it. However, the famous episodes featuring Thora Hird in the original series could not be remade due to social contact being restricted with anyone over 70.

Not often performed as a stage show, we are delighted to be bringing it to life in a vibrant high street setting. Three women in a café. Each has a story. What secrets will you overhear?

But that’s not all we’ve been working on. This year we have decided to harness the power of social media to widen our audience at our shows and elevate our profile.

We have made a mini mockumentary about the fictional production team who run Wanstead Theatre Co. Filmed in various Wanstead locations, it is a behind-the-scenes comedy about a theatre company and the current show they are doing, which as far as we know, has never been done before.

We want people to engage with the mockumentary, find it funny, then realise we are a real-life professional theatre company and they can actually come and watch the show featured in the episodes. And who knows? If they are lucky, they may also bump into some of the characters.

Each episode is just two or three minutes long, broken up into mini clips for social media, but the full episodes will be put on YouTube so they can be watched in a more traditional TV format. A selection of the clips can also be seen on the popular Facebook group, Wanstead Community Hub.

We hope this modern way of raising our profile will secure the future of our theatre company. Our mission of bringing the West End to Wanstead still holds true, but hopefully, with the added exposure, we’ll be bringing the audience to Wanstead as well.

For more information on Wanstead Fringe events, visit wnstd.com/fringe

One of the highlights of this year’s Wanstead Fringe is All Rest, an immersive opera set and staged in the graveyard at St Mary’s Church. Here, the opera’s composer Simone Spagnolo explains what to expect

The opera All Rest is an original, immersive opera experience portraying a fictional dreamscape about the people dwelling in St Mary’s graveyard. Six characters and a chorus of ghosts lead the audience on a journey through the grounds, offering a glimpse of past and future stories.

The stories featured include some of Wanstead’s well-known historical characters, including Astronomer Royal James Pound, Admiral Robert Pamplin and Jessie Nutter, one of the sisters who bequeathed much to the people of Wanstead. As ghosts who still inhabit the premises of St Mary’s, these characters narrate precious memories of their lives, eventually reuniting in a final, poignant choral moment to bridge their reminiscences with the audience’s presence. 

The opera features solo voices, a choir, flute, violin, portable speakers and St Mary’s historic organ. It was premiered earlier this year at the St Mary’s Music Festival, which originally commissioned it, but the Fringe has arranged this second opportunity to experience this unique, site-specific work. 

Aside from reflecting on the history of Wanstead and St Mary’s, this performance piece draws inspiration from the aesthetics of promenade and immersive theatre, which enables the spectator to be within the scene and a common location to become a theatrical setting. Serena Braida – who wrote the text – and I shared an aim to join this peculiar format with that of the number opera, so as to allow the magic of the music to further complement the immersive experience. 

Having the possibility to put in action such a stimulating, interdisciplinary exchange certainly prompted our interest and curiosity. Possibly, the most fascinating thing about All Rest is that it gave us the opportunity to create a piece in which reality and representation cross and blur each other in a spectacularly inspiring location. Ghosts, graves, characters from the past, operatic singing, nature walking, portable radios, choral chanting: everything fades into the current moment, subtly offering a spiritual touch. I guess this is what we tried to achieve, a brief spiritual moment in which art and nature meet. 

We hope visitors and audiences will enjoy our work, in its apparent simplicity, and we wholeheartedly thank all those who have contributed to this imaginative performance piece.

For more information on Wanstead Fringe events, visit wnstd.com/fringe

The cultural revolution that has been going on in Wanstead for the past few years is in full flow. And, like all of us, whatever our age, it looks like it is growing up, writes Fringe director Giles Wilson 

The Wanstead Fringe, which started just after the 2012 London Olympics with comedy and open-air cinema, is now in its second decade and has blossomed into a full arts festival with theatre, music recitals, literary events and much more. 

This year’s theme takes a line from Picasso as its inspiration: “Once we grow up,” in which he wrestled with the tension between getting older without losing childlike freshness. That’s something of what we’ve been trying to do.

This year will see a dozen different plays being performed at three sites, including for the first time Shakespeare, with a production of Richard II taking place at the Wanstead Curtain, a new theatre we have created in the hall of the Wanstead Methodist Church on Hermon Hill. Alan Bennett’s Talking Heads will be staged in a High Street cafe and several new works will be performed in the upstairs room at The Bull, including several plays which are coming to us directly after the Edinburgh Fringe.

The Wanstead Curtain will also be the venue for three indoor Kinema screenings, ahead of the traditional favourite open-air Kinema in the grounds of Christ Church. This year’s family film is the hit musical Wonka, featuring the talents of one of the stars of last year’s Fringe, Paterson Joseph.

There will be a range of musical styles being performed, from the Replacement Hipsters through the award-winning Redbridge Brass to top concert instrumentalists and performers. Opera star Lucy Crowe OBE and husband Joe Walters will again be bringing a beguiling mix of musical styles to their eve-of-fringe Charivari in the stunning St Mary’s Church on Overton Drive. And that will also be the venue for two performances of All Rest, an opera written by local composer Simone Spagnolo, which is set in the churchyard featuring some of the former Wanstead residents who are buried there.

There will be 10 literary events during the Wanstead Book Festival, which is part of the Fringe. Among the attractions are fake history-slayer Otto English (in conversation with Lord Victor Adebowale), comedian Paul Sinha, who will be speaking about his autobiography, philosopher Julian Baggini and Daisy Goodwin, author of a heartbreaking history of the life of Maria Callas.

We are lucky in this part of London to have such a range of events in easy reach. But with the Wanstead Fringe, we are trying to build something new and local, and we’re doing it for ourselves.

We look forward to seeing you at events once again this September.

For more information on Wanstead Fringe events, visit wnstd.com/fringe

The Wanstead Fringe will return this month with over 100 events taking place, including 10 different plays.

“The Fringe runs from 7 to 28 September, and this is your chance to help make it the success Wanstead deserves. Take a look through the listings in the Fringe section of this issue and get the dates in your diary so you don’t miss out!” said Fringe director Giles Wilson.

A number of popular Fringe events will return this year, including the open-air Kinema on 14 September and the jumble trail on 21 September.

Visit wnstd.com/fringe

In the first of two articles, Terry Joyes reflects on his 12-year journey to publishing a book about the history of Wanstead High School, just in time for the school’s 100th anniversary next month

The other day I was looking through some old emails, an exercise in which I’m sure many nostalgic hoarders would find indulgence, and I found one dated 2012. Not all that old, but it was its very content that gave it significance. It was part of the correspondence between myself and the late Patrick Renshaw that had given life to my initial idea of compiling a history of Wanstead High School.

Patrick and I had both been pupils at the school, although Patrick was in the year above mine. We also had two conditions in common: we were both born in West Ham and both enjoyed a love of history, he professionally but I as a professed amateur.

In 2012, Wanstead High School was within two years of celebrating its 90th anniversary. There had been such enjoyment of the 75th anniversary in 1999 that the proposition of a further reunion was indeed compelling.

I was delighted to know, through our correspondence, that a professional historian such as Patrick was enthusiastic to the point of offering not only advice but also to writing an essay to set the historical circumstances in which Wanstead High School was born on 23 September 1924. With Patrick’s enthusiasm raising my own expectations of myself, I questioned, nevertheless, my own ability as an historian to undertake such a task. Patrick spurred me on, although he was in a different league; a widely published author of works on the US and its worker population, he was awarded Fellow of the Royal Historical Society. How could I begin to consider collaboration with one of such stature in academia?

Although subject to an inward constraint, I was emboldened to find my collection of important prime evidence and documentation – most of which I had accumulated before and after the 1999 reunion – could be used as building blocks for a projected book; ideas began to flow. Meanwhile, Patrick honoured his commitment to provide a background history, both political and social in context, and I admit to being flattered when he sent me drafts for my consideration. I came to understand the nature of Patrick’s generosity.

The project Patrick and I were pursuing was due for completion by 2014; but we were to be thwarted. The school found itself in line for a rigorous Ofsted inspection, one which would consume the thinking and attitudes of staff so that all preparatory actions became assessment-oriented. Fear of Ofsted’s visit prior to any reunion necessitated cancellation of the 90th anniversary celebration, and with it was lost the impetus we had shared in producing the book. Our initial enthusiasm was dormant, and as I will explain next month, it took a pandemic to revive our interest.

A reunion will take place at the school on 22 September. For more information and to order a copy of The Story of Wanstead High School by Terry Joyes and Patrick Renshaw, visit wnstd.com/whs100