Our studio is filled with light and music.
There are multiple meeting rooms, a well stocked kitchen, and an indoor garden (with fishpond). Talk to us about access needs, environmental factors and any accommodations we might make to enhance your visit. Pop-in for tea and stay to use a spare desk for as long as you need.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

Public transport

We’re next to Greenwich train and DLR station. We have a door right on the concourse but it’s different to our postal address.

From Greenwich rail platform

This video shows the route to take from the train that will arrive at Greenwich rail station from London Bridge. There's a gentle slope next to the staircase.

From Greenwich DLR station

This video shows the route to take from the DLR that will arrive at Greenwich DLR station from Bank. There's a lift at the platform level if that's useful.

By car

If you have to come by car, we have a couple of parking spaces. We have a charging point that you are welcome to use if you have an electric car. Call ahead and we'll make sure the spaces are free. Use our postcode (SE10 9QF) to guide you in.

Get in touch

We’d love to hear from you. Use whichever medium works best for you.

11 Greenwich Centre Business Park,
53 Norman Road, Greenwich
London SE10 9QF

Cog is a Certified B Corporation

New project enquiry

It's exciting to chat about potential new projects. We don't have a ‘sales’ team or a form to fill in. Call us or give us a little detail via email and we'll get straight back to you.


Website support

If you're a client then you'll be best served by calling us or contacting us via ClickUp, otherwise you can use this dedicated email that reaches all of the digital team.


Finance questions

This email hits the inboxes of the people who deal with our bookkeeping and finances.


Just want a chat?

Sometimes enquiries don't fall neatly under a heading, do they?


Cultural Calendar

A round-up of recommendations and reviews, sent on the first Friday of each month, topped-off with a commissioned image from a talented new illustrator. Sign-up and tell your friends.

Sign me up Cultural Calendar

Cog News

An irregular update of activity from our studio. Showing off about great new projects, announcements, job opportunities, that sort of thing. Sign-up and tell your friends.

Sign me up Cog News

Akram Khan’s Giselle at Sadler’s Wells

Akram Khan’s Giselle at Sadler’s Wells

Akram Khan’s influences from Kathak and contemporary offer a striking take on the classic romantic ballet, beautifully performed by the cast of English National Ballet.

November’s Cog night was Giselle, the much anticipated collaboration between renowned choreographer Akram Khan and English National Ballet. We bought our tickets back in July and the office had pretty much been buzzing with excitement since then. The rave reviews, for the pre-London national tour, only fuelled the excitement.

The team all excited for the show

The classic Giselle is the epitome of a romantic ballet, centred around love, betrayal, mysticism and eventually forgiveness. Akram Khan’s version retains those themes but brings the story forward in time, away from the 19th century harvest time to a more proximate reality. His contemporary revival of the classic turns the peasants to migrant factory workers and the noble folk to the rich landlords clad in absurdly extravagant garb made by said factory workers. The two starkly contrasted worlds are separated by a literal wall, highlighting the division and imbalance of wealth in our globalised modern society.

We weren’t the only ones at Sadler’s Wells

The monolithic wall is used to portray the class barrier in the first act, with Giselle and the other exiled migrant workers trying to push it away, looking for a way into the life on the other side. Albrecht, Giselle’s lover, in a series of beautiful duets tries desperately to get her away from the wall, he doesn’t want her to know that he himself is a part of the wealthy world beyond it. But Giselle is also loved by Hilarion, who is adept at crossing the border and arranges a visit from the wealthy landlords in order to expose Albrecht’s lies. When confronted with the choice between his life of privilege and the outcast life with Giselle, Albrecht chooses to return to the other side of the wall, betraying Giselle.

In the second act the wall represents an industrial hell of sorts, the stage becomes the abandoned factory haunted by the ghosts (wilis) of women who’ve died serving the greed of modern society. Giselle joins them but is desperate to break the circle of violence and ends up forgiving Albrecht and releasing him from the grips of the wilis.

Matt admiring the poster

Vincenzo Lamagna’s dark and electrifying rendering of Adolphe Adam’s original score is gripping but just as arresting is the use of absolute silence, where all you can hear is the footwork of the dancers. Footwork which is absolutely stunning, the use of pointe for the ghosts in the second act again pays homage to the romantic origins of the ballet bringing in ethereal weightlessness, a sense of floating. Coupled with their warrior staves they become wickedly beautiful and equally dangerous.

Akram brings his influences from classic Kathak and his experience from contemporary dance but still very much keeps a sense of ballet, creating a beautifully elegant fluidity of expressive gestures, contortionist movements and some classic arabesques. The dancer’s of English National Ballet perform Khan’s choreography with gripping precision. Tamara Rojo’s Giselle is curious, innocent and beautiful, her duets with James Streeter’s Albrecht delicate and captivating. A favourite of mine was possibly the primal fight-like duet between Albrecht and the sly Hilarion, danced by Cesar Corrales, alluring in its animalism.

Becca and Melissa content after a fantastic show

Akram Khan’s reimagining of the classic is stunningly performed by ENB and combined with the striking score, costumes and set design makes this contemporary ballet a must see.