The 15 best rooftop bars in London, mapped
The sun is out. Kind of. Almost. It's peeking through the clouds at any rate, which means there's no better time for you to ditch pubs with ceilings and opt for a bar that's open to the elements.
We recently revealed our list of the best, non-naff rooftop bars in London. To make it easier for you to work your way through them, we've now popped them all onto a map.
Use it to traverse your way through the Peckham rooftop spots, from Frank's and Forza Wine (the National Theatre edition of which came top of the list) to Bussey Rooftop Bar, or let it guide you through Hackney's high-up establishments, including Netil360 and Dalston Roofpark.
There's a newbie on the map too – Setlist, which is the rebranded terrace space at Somerset House. It launches for the summer season on May 8, and James Dye of Bambi, and Frank's as well as Clement Ogbonnaya of the Prince of Peckham are behind the custom soundsystem as well as a full-throttle events programme. Food also promises to be a strong point, with chefs Opeoluwa Odutayo, Sophie Wyburd, and Terri Mercieca of Happy Endings holding court in the kitchen.
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Time Out
3 days ago
- Time Out
Ncuti Gatwa regenerates into Olly Alexander as the NT's ‘Importance of Being Earnest' transfers to London's West End
Ncuti Gatwa's time on Doctor Who proved to be pretty brief. But he didn't put his feet up in the gap between his two seasons – theatre was his first love and he got straight back on that stage last Christmas to star in the National Theatre's hallucinogenically camp take on Oscar Wilde's classic 'The Importance of Being Earnest', the first the NT had staged since the '80s. The Max Webster-directed production was a roaring great hit and now it's set to transfer to the West End, replacing Mischief Theatre's ' The Comedy About Spies ' at the Noël Coward Theatre. Gatwa's not coming along though: whether he'd have been up for it is a moot point, as he's already busy starring in the RSC's new West End play Born with Teeth. However, a fine replacement has been found for the role of young 'bachelor' about town Algernon Montcrieff: it's Olly Alexander, who hasn't been in Doctor Who but did make his name as actor in ' It's A Sin ', another show by Russell T Davies. Wilde's play is very much an ensemble affair and there is no news on further casting at this stage, though we dare to dream that the mighty Sharon D Clarke will return as the formidable Lady Bracknell. If you want to know a little more about what the production was like last time, then read our four-star review here. The best new London theatre shows to book for in 2025.
BBC News
4 days ago
- BBC News
Olly Alexander lands West End role in The Importance of Being Earnest
Singer and actor Olly Alexander has said he has "come into a different space in my life", as he announced a new West End stage role after recently parting ways with his record star will appear in the National Theatre's production of The Importance of Being Earnest when it transfers to the West End in will be his first acting role since It's A Sin, Channel 4's acclaimed 2021 drama about the Aids crisis, for which he was nominated for a Bafta Award."I'd recently been thinking that I'd love to act again," he told BBC News. "I'd come to the end of my record contract, and I have a bit more breathing space to try a few different things and not feel, oh, well I have to deliver an album to my record label." Alexander will take over from Doctor Who star Ncuti Gatwa, who starred in The Importance of Being Earnest when it opened at the National Theatre in 2024. He will play Algernon when the production transfers to the Noel Coward Theatre in London."What's not to love?" Alexander asked. "It's such a brilliant play, Oscar Wilde's most celebrated comedy. I saw the National production and thought it was fantastic, and this opportunity came along and I jumped at the chance." Alexander shot to fame when his band Years & Years won the BBC Sound of 2015 poll and went on to have hits such as King and Shine, and score a number one later went solo, although continued to perform as Years & Years, and scored another top-charting album in 2021. He has performed with Sir Elton John and Kylie Minogue, and was the UK's Eurovision entrant last after his most recent album Polari, released in February, reached number 17, Alexander announced his departure from his record label."They aren't dropping me, they just aren't renewing my contract," he explained at the time. "It's OK and honestly for the best. I've been on a pretty terrible deal for 10 years. It's time I do something new. But I'll still make music in the future."Reflecting on his first decade as a pop star, Alexander told the BBC: "With music, there's an intensity to the way I've been working and putting albums out, promoting and touring. I definitely want to take the foot off the gas in terms of that intensity." He still occasionally works on music, but has "not been putting pressure on myself... I just do what feels good and feel very lucky that I have this other strand of acting that I'm able to explore".Alexander said he felt he had "learned so much" over the last decade about the way he likes to work. "But for me," he continued, "a lot of the reason I think the [music] industry has changed so much is that it's set on this model which is very antiquated now, and it's not kept pace with the times. "Lots of artists have this direct link with their audience via social media. They want their music out quickly. The whole model of promoting it - three singles into an album, then you tour the album, then move onto the next one - it's not really working like it did."He noted that record labels could historically make an album a success because they were "able to pour a lot of money into something"."They just can't do that now. Everything has changed. But I think that is exciting for lots of reasons, and it is an exciting place for artists, even though it's harder to break through." He concluded: "If I go back into it, it'll be because I think it's fun and something I want to do, and not think too much about how it's going to perform. "That's pretty much how I try to always feel, but you're in an environment where you have a lot of other stakeholders, and people telling you it needs to be this or that, and there's always that tension." For now, he is focusing on performed in 1895, The Importance of being Earnest follows two male friends who adopt fictional personas. The farcical comedy unfolds with mistaken identities and makes generous use of clever wordplay."In a nutshell, it's a comedy about two quite ridiculous young men and the double lives they lead," Alexander explained. "They do that to avoid their social obligations, and they both invent these aliases called Ernest, while they try and woo and marry these two young women. "But really, it's a comedy that skewers society's expectations, makes fun of class and what society expects of us, and what roles we're expected to perform." 'Delightful mischief' The previous production of the show, starring Gatwa, received a positive reception from critics. "There is an elegance to the nudge-wink references and it is a production with just the right amount of delightful mischief," wrote the Guardian's Arifa Akbar in a four-star Daily Mail's Patrick Marmion awarded five stars, describing the "sparkling new production" as a "witty reboot"."Yes, liberties are taken," he said. "But that is surely the best way of blowing the dust off this national treasure."In a three-star review, the Telegraph's Dominic Cavendish described the show as "defiantly bold, but more playful than antagonistic", although he added he wasn't sure the new iteration "adds much" to the original. In the play, nobody except Jack and Algernon know about their alter-egos - something which would be much more difficult to pull off now in an age of smartphones."It'd be impossible!" Alexander laughed. "Our every movement is captured, so there's less room to invent aliases and lead double lives, which in some circumstances is probably for the best. "What's brilliant about the play is it's set 100 years ago, at a time that feels so different to where we are now, but the themes are so timeless."Alexander last appeared in the West End in 2013, before becoming famous as a pop star, with a relatively small role in Peter & Alice alongside Dame Judi Dench. In 2024, Alexander finished in 18th place at Eurovision with his track Dizzy, in a tricky year for the contest which was partly overshadowed by controversy surrounding Israel's year's entrants, girl group Remember Monday, ended in a similar position, finishing 19th. Alexander praised their performance, adding that he "hopes to meet up with them soon and we can exchange stories"."But," he added, "I think I'll still be processing and reflecting [on Eurovision] for a long time." The singer is excited to be returning to the West End, not least because it will mean performing continuously in one venue."I spent a lot of my previous years moving around, touring, which is so fun and amazing," he reflects. "But I also very much appreciate staying in one place now."Having a home in London with my partner, my cats, just trotting off to the theatre every night - that just sounds like the most wonderful existence."
The Guardian
5 days ago
- The Guardian
Dominic Cooke appointed as the Almeida theatre's artistic director
Dominic Cooke has been appointed as the new artistic director of the Almeida theatre in London, succeeding Rupert Goold in 2026. Cooke ran the Royal Court for several years and is an in-demand director with recent hits in the West End and at the National Theatre. 'Twelve years after leaving the Royal Court, I couldn't be more excited to be returning as an artistic director and to be taking the reins of this unique theatre,' he said. He described Goold's Almeida as 'a beacon of quality and innovation' and added: 'I'm hugely grateful to him and his team to be handed an organisation in such good health. I look forward to building on this legacy and to future adventures in this magical space.' A specialist in musicals, Cooke staged a celebrated revival of Stephen Sondheim's Follies at the National in 2017 and reunited with one of its stars, Imelda Staunton, on an admired revival of Hello, Dolly! at the London Palladium last summer. His production of George Bernard Shaw's Mrs Warren's Profession, starring Staunton and her daughter Bessie Carter, opened at the Palladium last month. Other West End productions directed by Cooke include Medea with Sophie Okonedo and Good with David Tennant. During his time at the Royal Court he directed plays by Caryl Churchill, Tarell Alvin McCraney and Bruce Norris. He has also directed two feature films, The Courier (starring Benedict Cumberbatch) and On Chesil Beach (adapted from Ian McEwan's novel), as well as three episodes of The Hollow Crown for television. The chair of the Almeida board Tamara Ingram said Cooke is 'celebrated around the world and brings a wealth of experience both of running a theatre and as a consistently acclaimed, award-winning artist. We are greatly looking forward to what lies ahead and to seeing how his leadership defines the next chapter of the Almeida.' Goold called it a 'wonderful appointment' and said that Cooke's tenure at the Royal Court brimmed 'with confidence and new voices'. He added that Cooke 'will bring his many talents to bear on continuing the rich story of our great theatre'. It was announced last year that Goold will leave the Almeida to run the Old Vic, replacing Matthew Warchus. The Almeida's executive director Denise Wood is also standing down to pursue freelance projects. Recruitment for Wood's successor will begin shortly.
