Fragments

Preston College Dance (PCD) presented its summer showcase, Fragments, at Blackpool Grand Theatre, bringing together students from the Dance Performance and Teaching Diploma and the BA (Hons) Dance Performance, Teaching and Choreography programmes. With 17 numbers in Act One and a further 14 in Act Two, this was an ambitious evening that offered an impressive range of contemporary, jazz, lyrical, musical theatre and ballet.

The theatre was full, and the audience clearly loved what they saw. Their support was enthusiastic and vocal from the opening number onwards. At times, the cheering and whooping became so loud that I wondered whether it might distract the dancers, particularly during some of the more complicated lifts and gymnastic sequences. However, the students remained focused and professional throughout, never allowing the noise to affect their concentration, timing or execution.

Although the programme included dancers at different stages of their training, the overall standard remained consistently high. The performers moved confidently between contrasting styles, adjusting their energy, expression and quality of movement to suit each piece. There were no obvious standouts, but this is meant as a compliment: every number was excellent in its own right, and I could not fairly single out one dancer or routine above another.

The dancers showed strong technique, musicality and stamina across a demanding programme. Formations were clean, spacing was well judged and the larger ensemble pieces remained controlled even when the stage was busy. The quieter contemporary and lyrical numbers were performed with sensitivity, while the contemporary and musical theatre pieces had personality and confidence. The lifts and acrobatic elements were handled securely, and the trust between the dancers was clear.

The programme brought together the Move It Cast, BA1, BA2, Year 3, Pro Dance 1, Pro Dance 2 and a range of selected groups. This gave the audience a real sense of the different stages of the students’ training and the variety of opportunities available to them. Each number felt distinct, yet the evening had a clear identity and never felt like a disconnected collection of routines.

The choreography was varied, imaginative and well suited to the dancers. Credit must go to the Preston College Dance faculty: Hindley, Caterina Berry, Wendy Fisher, Colleen Mackay, Louise Pettitt, Laura Bragagnini, Rebecca Heath, Laura Oliver, Claire Slater, Anna Dunnett, Rebecca Jackson, Charlotte Ormerod and Michael Cosgrove. Additional choreography was provided by Stephen Morgan, Thomas Barnes, Jen Cassidy, Thomas Charles, Layla Ellison, Martina Gumbs, Jamie Graham and Graeme Pickering. The range of creative voices helped give the programme its breadth without losing coherence.

There was no traditional set, which allowed the focus to remain firmly on the dancers. A raised platform ran across the width of the stage upstage, with steps leading up to it. This simple structure was used very effectively, providing different levels, varying entrances and exits, and helping to create some striking stage pictures. It added visual interest without restricting the movement.

The lighting was a strong element of the production and played a major part in the success of the evening. Lighting is vital in dance because it shapes the space, highlights formations and movement, and helps establish the mood of each piece. Dec Murray’s lighting design did all of this exceptionally well. With 31 contrasting numbers, there must have been a huge number of cues, yet the changes were accurate, well timed and always supportive of the choreography. Isaac Jones operated the lighting with impressive precision, ensuring that the many cues landed exactly where they needed to. Dave Renwick’s sound was equally reliable, presenting the wide range of musical styles clearly and at an appropriate level. The technical work never drew unnecessary attention to itself; it simply allowed the dancers and choreography to be seen and heard at their best.

Dec Murray also took responsibility for stage management and programme design. The pace of the evening was excellent, with transitions handled smoothly despite the large number of performers, costume changes and technical requirements. The programme was clear and useful, particularly in identifying the different groups, choreographers and production team. Sam Fenton and Alyssa Gilbert provided videography, capturing what was clearly an important occasion for the students and college.

The costumes were outstanding. With 31 individual numbers, the organisation involved in sourcing, fitting and managing so many different looks must have been considerable. Every piece had its own visual character, and the costumes were carefully chosen to reflect the genre, tone and personality of the choreography. Costume is especially important in dance because it affects the way movement is seen. Shape and fabric can emphasise line and extension, while colour and texture can help establish mood and character before the choreography has even begun. The costumes throughout Fragments enhanced the movement without restricting it and helped each number feel complete. The attention to detail was remarkable, and the visual impact across the evening was consistently impressive.

The production also featured two solo vocal performances. Inés Clifton sang “She Used to Be Mine” in Act One, while Harriet Walsh performed “Burn” in Act Two. Both sang very well, delivering their songs with confidence and sensitivity. However, within an evening otherwise centred on fully choreographed dance numbers, these two solos felt slightly separate from the rest of the programme. As both songs were slow and reflective, some subtle movement or dance imagery in the background might have helped integrate them more naturally into the showcase while still allowing the singers to remain the focus. By contrast, the section from & Juliet, featuring vocalists Luchia Law and Lea Yardley, worked particularly well. The choreography around the singers brought the vocals and dance together effectively, making the sequence feel fully integrated into the wider production. Both vocalists performed confidently, and the combination of singing and movement gave the section a strong theatrical quality.

Credit must also go to Helen Fish, Student Manager, Guy Porteous, pianist, and Jane Tudor, Director of the School for Visual, Performing Arts and Digital Skills, for their support of the students and the production as a whole.

Under the leadership of Dance Principal Andrew Hindley, Fragments was an exciting, polished and thoroughly enjoyable celebration of dance. It showcased not only the talent of the students but also the strength of the training, choreography, technical work and pastoral support behind them. Maintaining such a high standard across 31 varied numbers was a considerable achievement. Congratulations to everyone involved.

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