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Things to do in London today

The day’s best things to do all in one place

Rosie Hewitson
Written by
Rosie Hewitson
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Got a few hours to kill today? You’re in luck. London is one of the very best places on the planet to be when you find yourself with a bit of spare time.

In this city, you’re never too far away from a picturesque park, a lovely pub or a cracking cinema where you could while away a few hours. And on any given day, you’ve got a wealth of world-class art shows, blockbuster theatre and top museum exhibitions to choose from if you’re twiddling your thumbs. 

And while London has a reputation for being pricy, it’s also one of the best places in the world to find fun things to do on a budget, whether that’s a slap-up meal that won’t break the bank or the wealth of free attractions across town. 

Whatever you feel like doing today, you can guarantee that London has the answer. Here are just a few suggestions of our favourite things on right now. Don’t forget that you can also check out our area guides if you’re after something in your immediate vicinity. 

You have absolutely no excuse to be bored in London ever again!

RECOMMENDED: Find even more inspiration with our round-up of the best things to do in London this week.

Things to do in London today

  • 4 out of 5 stars
  • Theatre
  • Immersive
  • Tower Hill
  • Recommended
This lavish new immersive theatre attraction from the Tower of London is, in essence, a 100-minute theme-park ride. Using live acting and pre-recorded VR, it takes you inside the infamous Gunpowder Plot, wherein a group of Catholic radicals – inflamed by King James I’s persecution of their religion – decided to blow the heck out of the Houses of Parliament. London has experienced a proliferation of this sort of big-budget, overtly commercial immersive theatre in recent times: next month we’re getting a big new ‘Peaky Blinders’ show, and ‘The Gunpowder Plot’ is the sister production to the similarly VR-augmented ‘War of the Worlds’ that’s been doing the business in central London for a few years now. What marks the ‘The Gunpowder Plot’ out as special is its superior creative team, headed by writer Danny Robins (‘The Battersea Poltergeist’, ‘2:22 - A Ghost Story’) and director Hannah Price (of the King’s Head and activist company Theatre Uncut. Its greatest strength as a drama is the careful moral ambiguity Robins’s script applies to the England of 1605, riven by conflict between the oppressive Protestant ruling class and the persecuted Catholic minority. We sympathise with the oppressed. But is detonating the Palace of Westminster and its bustling surroundings the answer? Although actually staged in the vaults just outside the Tower of London, the story begins in a recreation of the Tower, where the groups of up to 16 ticketholders are cast as newly imprisoned Catholics, witn
  • 4 out of 5 stars
  • Things to do
  • Exhibitions
  • Bethnal Green
  • Recommended
The first temporary exhibition at Young V&A is a real delight, and should appeal to grown-up Nippophiles just as much as school kids. ‘Japan: Myths to Manga’ is a grab bag of the more eye-catching highlights of the past few centuries of Japanese pop culture, taking in everything from Hokusai’s ‘The Great Wave’ to copious Studio Ghibli appearances, to a draw-your-own manga craft corner (complete with arrows to reminds you to draw the cells from right to left). It is relatively light on information about the individual items, and in theory the eclecticism should be a bit bewildering: how exactly do a display of Transformers toys, an ornate screen covered in images of mischievous rabbits, and a truly horrifying folk model of a mermaid that looks like a trout crossed with a zombie foetus all relate to each other? Quite well actually! The mass of eye-popping artifacts is subdivided into four thoughtful zones: sky, sea, forest and city. The import of each of these areas to Japanese culture is stressed, and while there’s little editorialising beyond that, the linkages between the country’s rich folklore and head-spinning contemporary culture are made clear - we see, for instance, how Ghibli’s arboreal masterpiece ‘My Neighbour Totoro’ fits into a long tradition of stories of supernatural encounters in the deep woods, or how Sylvanian Families toys were born out of hundreds-of-years old netsuke animal sculptures. There’s no single object liable to blow your mind in and of itself, and
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  • 4 out of 5 stars
  • Theatre
  • Immersive
  • Fenchurch Street
  • Recommended
Think the past couple of years have been rough? Try surviving a Martian invasion only to be captured by an enormous fighting machine and having your blood harvested, ‘The Matrix’-style, in a stifling capsule. That’s the 1898 envisaged by H.G. Wells in his pioneering sci-fi thriller ‘The War of the Worlds’, which was then adapted by Jeff Wayne in his 1978 prog sci-fi album, which imbues Wells’s Victorian tale with rock-opera camp and steampunk kitsch. It’s this rather Marmite pop culture relic that forms the basis of this immersive theatre experience. It launched back in 2019, but it’s changed a fair bit since then. Presumably, techy immersive theatre company Layered Reality has finessed the VR and AR (augmented reality) tech, because now it’s slick AF. In fact, at times it’s terrifying… in the best possible way.  Take for example the moment that I stood, ensconced in a VR-enhanced Fighting Machine capsule, and felt something actually pinch me. I screamed into what (through my VR goggles) I perceived as a hellish Martian human-blood farm. I heard other screams in the distance – my fellow survivors in the booths beside me.  But it’s not all jump scares. The 24 scenes that make up the experience are incredibly varied; as per Jeff Wayne’s album, we follow the path of The Journalist, starting with his first glimpse through a telescope of noxious green gas emerging from Mars. We duck through tunnels, climb through windows and ride hot air balloons, encountering actors who are, for
  • 4 out of 5 stars
  • Art
  • Chelsea
  • Recommended
The guts of society are hidden away, but Canadian photographer Edward Burtynsky has spent his long career eviscerating them and putting them on display. All the things that make modern life tick – the mines for our batteries, the farms for our food, the abattoirs for our meat – are kept secret, out of view because they lay bare the damage we’re doing to the planet. Burtynsky’s vast, mega-scale photographs here at the Saatchi Gallery (there’s a concurrent, free, smaller show of his work at Flowers Gallery too) drag those private shames out into the open. He photographs salt marshes carving up the Spanish coastline, gold mines spilling cyanide into the Johannesburg’s groundwater, circular crops sucking Saudi Arabia’s aquifers dry, diamond mines leaking toxic waste into the hills of South Africa. It would make for grim viewing if it wasn’t all so beautiful. Burtynsky finds the sublime in the vile, he highlights the washes of hyper-saturated colour in criss-crossing striated hills and planes, the geometric composition of riverbeds and salt lakes. Everything is pushed to such an extreme – in size and colour – and so rich in aesthetic detail that it looks more abstract than anything real could ever be. It’s not beautiful, it’s actually toxic and damaging and bad And that’s his trick. The work lulls you into a state of awe at all the beauty of the world, and then big Ed runs in to bash you over the head with a baseball bat while yelling ‘wrong! It’s not beautiful, it’s actually tox
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  • 5 out of 5 stars
  • Art
  • Aldwych
  • Recommended
Heads hang heavy, bodies sink into the shadowy corners of the room. Frank Auerbach’s charcoal portraits are dismal, dour things, heaving with hurt and pain, but they’re also brutally, shockingly beautiful. Auerbach came of age alongside Leon Kossoff, Lucian Freud and Francis Bacon (he’s still at it well into his 90s too), part of a group of Londoners intent on reworking the form of painting itself. Auerbach did that in the post-war period with thick globs of pigment, creating dense, viscous canvases, closer to sculptures than paintings. But this show at the Courtauld is about his charcoal portraits from the 1950s and ’60s.  They’re not his most famous works, but they’re incredible. Each one is drawn and redrawn over and over again, erased and remade, erased and remade, so many times that he wears through the paper. They’re feverish, violent, desperate things.  Grim, spectral presences on scarred landscapes His sitters always turn away, eyes in the gutter, shoulders slumped. Leon Kossoff is a vast cranium, his face lost in darkness. Auerbach’s wife Julia is fragile and stick thin. Stella West is skeletal and sickly. Gerda Boehm is sharp and fractured. Everyone here looks somehow haunted. Only Auerbach himself looks directly out at the viewer, in a rare early self-portrait, but it’s maybe the least successful work here. It’s better when he’s looking outside of himself, digging at another’s essence and pain. Some works are nothing but shadow, a smudge of grey forming a cheek in
  • 4 out of 5 stars
  • Art
  • Bloomsbury
  • Recommended
Life in the Roman empire was as mundane as life in 2024. ‘Legion’ tells the story of a single Roman soldier, recounting a life of hard work, ambition, disappointment and unreachable goals. Take out all the blood and swords, swap the marching for a commute from Stevenage, and it could be the life of any present day office worker.  Claudius Terentianus had hopes and ambitions. He wanted to be a great legionary in emperor Trajan’s army. But the legion wouldn't have him, so he had to settle for the lowly marines. Once in, he had to scramble for money and social connections to be promoted to the legion, where he found a life of endless marching and battles, surrounded by comrades with their own ambitions to join the cavalry or become a standard bearer. This show is full of stunning symbols of everyday life for Roman soldiers from across the empire. Red wool socks to protect against the rub of hobnailed leather sandals, purses holding a handful of silver coins, dice for gambling, letters home pleading for a new tunic. It’s just the drudgery of normal existence, same in 60AD as it is now. Battles, bloodshed and the spoils of war And amongst all that, symbols of war: gleaming bronze helmets, swords long rusted into their scabbards, a pile of near-fossilised chainmail. A curved cylinder is the only complete long shield in existence, replete with ornate linework and winged victories. It’s jaw dropping.  It wasn’t all blind, faceless obedience though. A crushed silver bust of emperor G
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  • 4 out of 5 stars
  • Art
  • Trafalgar Square
  • Recommended
It’s hard to know if Italian Renaissance master Andrea Mantegna was issuing a doom-laden warning or just a doe-eyed love letter to history. Because written into the nine sprawling canvases of his ‘Triumphs of Caesar’ (six of which are on show here while their gallery in Hampton Court Palace is being renovated) is all the glory and power of Ancient Rome, but its eventual collapse too. It starts, like any good procession, with a load of geezers with trumpets, parping to herald the arrival of victorious Caesar. As they blare, a Black soldier in gorgeous, gilded armour looks back, leading you to the next panel where statues of gods are paraded on carts. Then come the spoils of war, with mounds of seized weapons and armour piled high, then come vases and sacrificial animals, riders on elephant-back, men struggling to carry the loot that symbolises their victory. The final panel, Caesar himself bringing up the rear, remains in Hampton Court, so there is no conclusion here, just a steady, unstoppable stream of glory and rejoicing.  The paintings are faded and damaged, and have been so badly lit that you can only see them properly from a distance and at an angle. But still, they remain breathtaking in their sweeping, chaotic beauty.  Partly, this massive work is a celebration of the glories of the classical world and its brilliance, seen from the other side of some very dark ages. But along with its rise, you can’t help but also think of Rome's demise, of what would eventually come a
  • 4 out of 5 stars
  • Art
  • South Bank
  • Recommended
Can stone flow? Can metal ooze? Can hardness be rendered soft? I mean, generally, no. But artists are alchemists at heart, always trying to enact some kind of magical transformation, so they’re not going to let something like solidity stand in their way.  This show looks at 60 years of artists hellbent on the impossible: creating sculptures that ooze and bulge and throb and breathe. It’s all bodily and undulating, implying movement and growth and change and guts.  Artist duo Drift’s silk lampshades rise and fall from the ceiling as you walk in, pulsating like jellyfish. Teresa Solar Abboud’s airbrushed constructions look like the limbs of some impossible being that’s got itself stuck in a rockface. Marguerite Humeau’s futuristic society of socialist insects is familiar but uncomfortably post-apocalyptic. It's like walking into an alien aquarium, filled with creatures your brain can’t quite process. But things are human too. Holly Hendry’s twisting knots of metal ducting look like freshly plucked guts, Eve Fabregas’s overwhelming, giant intestines are throbbing and literally visceral. All these sculptures look fleshy, porous, squishy.  All these sculptures look fleshy, porous, squishy Other works deal more directly with immateriality, like Ruth Asawa’s hanging structures which seem to have somehow made soundwaves permanent, or Michel Blazy's tower of scaffolding which burps out huge sheets of foam.  The concept of the show is a bit too fluid for its own good though. It’s hard
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  • 4 out of 5 stars
  • Art
  • Bankside
  • Recommended
It’s all in your mind, a figment of your imagination, and that’s how Yoko Ono wants it. The pioneering nonagenarian conceptualist – whose life’s work has been unfairly eclipsed by her Beatles-adjacent fame – wants to plant a seed in your brain, and that’s it. That’s the art. At its best, her art is simple, direct, and, when she started doing it in the mid-1950s, absolutely revolutionary. Ono moved to New York from Japan, rented a loft, and let the ideas win. In the fertile experimental atmosphere of that city at that time, surrounded by like-minded creatives including John Cage, George Maciunas, David Tudor and the incredible LaMonte Young, Ono went about changing art.  She did it with performances and instructions. The opening walls here are lined with note cards, each with a simple order: ‘light a match and watch till it goes out’, ‘let a vine grow, water every day’, ‘draw line, erase line’, ‘polish an orange’. Some instructions are meant to be performed, others (like ‘go on transforming a square canvas in your head until it becomes a circle’) exist only in your mind. Conceptualism had existed in some form since Duchamp and his urinal, maybe even since Gustave Courbet if you wanted to argue that way, but this is Ono getting rid of all the stuff of art, all the colour, the form, the physical reality, and leaving behind only the idea. It’s powerful, incredible, smart, beautiful. A final video shows Yoko in a trilby screaming and making funny noises Performance was essential
  • 4 out of 5 stars
  • Art
  • Charing Cross Road
  • Recommended
At some point in the past, this show might have been a shock, it might have caused uproar.  But this isn’t the past, this is 2024, so seeing room after room of paintings of Black figures by Black artists in the National Portrait Gallery isn’t shocking: instead, it’s just totally normal. The artists here depict the Black figure in endless ways and contexts. As straight portraits by Amy Sherald, as forgotten figures from art history by Barbara Walker, as characters of memetic mythology by Michael Armitage. The Black figure, like Blackness itself, isn't one thing, it’s complex, indefinable. The exhibition is filled with personal narratives. Njideka Akunyili Crosby’s huge, semi-collaged vision of a mother and child is beautiful and deeply intimate, Henry Taylor’s portrait of the artist Noah Davis (who died in 2015) is achingly tender and joyful, Jennifer Packer’s images of those closest to her feel too private to even look at.  History rears its ugly head over and over too. It’s in Noah Davis’s vicious depiction of the 1921 Tulsa race massacre, it’s in Michael Armitage’s beautiful but frenzied scenes of social upheaval in the media age, it’s in Godfried Donkor’s gleaming image of Black heavyweight champ Bill Richmond, born into slavery but punching his way to freedom.  Skin tone plays a central role in the show. Henry Taylor uses thick slabs of brown and ochre, but Toyin Ojih Odutola and Kerry James Marshall go for a deep, tenebrous onyx, and Amy Sherald paints her sitters in was

More things to do in London today

  • Restaurants
  • price 1 of 4

London might well be the world’s greatest city for top nosh, but it’s also expensive enough that most of us cant eat out as much as we’d like to. But never fear! Everything in this list has been priced at £10 a head or less to eat in or takeaway, but many of them will have you well-fed for a fiver. And variety is the name of the game – so expect London staples like fish ’n’ chips or pie ’n’ mash, but also the best banh mi, patties, gozleme, shawarma, steamed buns, lahmacun and moreNot only will visiting these places give you the kind of buzz only a bargain bite can deliver, you can relish the fact that you’re supporting small London businesses. Winner winner, chicken dinner!

Have a wander round one of the city’s finest museums
  • Museums

London is absolutely world class when it comes to museums. Obviously, we’re biased, but with more than 170 of them dotted about the capital – a huge chunk of which are free to visit – we think it’s fair to say that there’s nowhere else in the world that does museums better. Here are some of our absolute faves. 

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  • Theatre

Want to know what the best theatre shows running in London right now are? Well you’ve come to the right place. This is our regularly-updated round-up of the very best stage shows, musicals plays and everything in between that you can currently see on London’s stages, from massive West End musicals that have been in place for years, to cool fringe theatre productions that’ll be around for just a few weeks. Our recommendations are all based upon reviews by our team of theatre critics.

  • Attractions

Whether you’re a visitor, a daytripper or a tourist in your own hometown, there are certain iconic London attractions that you simply have to visit. These museums, galleries, monuments and parks are part of the city’s fabric – to experience them is to uncover the capital’s identity, culture and history. But where to begin? We’ve pulled together a list of the 50 best attractions in London for you to start ticking off your bucket list.

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  • Art

Looking at great art needn’t cost the same as buying great art. With a shed-load of free art exhibitions in the capital, wandering through sculptures, being blinded by neon or admiring some of the best photography in London doesn’t cost a penny. Here’s our pick of the best free art exhibitions this week and beyond.

  • Bars and pubs

London is perhaps the perfect pub city. There’s a boozer for almost every kind of person – even the non-drinkers among us – and they’re a vital part of the capital’s lifeblood. They provide community, entertainment and culture, and not only help us navigate our way around town but give us a place to stop, sit and enjoy the city. There are roughly 3,500 pubs in London. That might be a shocking 25 percent less than there were two decades ago, but it’s still a fair amount of options when it comes to choosing a place to meet your mates, go on a date, or rock up for a solo drink and have some much-treasured alone time. We’ve tried and tested inns, taverns and boozers across the city to bring you a list of the very finest. 

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  • Film

With more than a hundred cinemas inside the M25, London is as well served for picture houses as any city on earth. And they come in all shapes and sizes. From goliath multiplexes to boutique independents, to those – like Peckham’s beloved Peckhamplex and Walthamstow’s Empire – that sit at the nexus of the two, there’s truly something for everyone. So without further ado, here are London’s best cinemas as chosen by our readers. 

  • Things to do

Grab a bunch of thrill-seeking, puzzle-solving mates and sign up for one of the many live escape room experiences London has to offer. These range from the traditional locked-room escape mission to a ‘Sherlock’-themed mystery and an all-out recreation of classic ’90s TV show ‘The Crystal Maze’. Whichever you choose, your group will have to help each other to solve puzzles within a strict time limit. Our advice? Pick your teammates wisely. 

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  • Restaurants

You can’t get bored of eating out in London. The city’s restaurant scene is a rich tapestry of different cuisines and flavours. From the family-run neighbourhood Thai joint that’s been around for years to the Michelin-starred grandee where you can sit at a counter and watch genius chefs at work, London’s restaurants are diverse, creative and always exciting. This is your guide to eating out in the capital in 2022. Tuck in.

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