ABOUT
SEBS tutors are all highly experienced in the world of classical ballet as performers as well as tutors. We feel it is important that students learn from the best in order to find the best within themselves, and that they learn about the reality of a career in dance
FACULTY
Bronwen Patching
Artistic Director
LISTD (Licentiate Status with the Imperial Society of Teachers of Dance)
ARAD (RAD Registered Teacher)
Qualified Progressive Ballet Technique Tutor
10-time consecutive winner Dancing Times Cup 2010-2019
Dance School of the Year Winner
Outstanding Classical Ballet Achievement Award Winner 2021
I started up South East Ballet Scholars (SEBS) in 2007 with the aim of producing a Classical Ballet training programme designed to help, inspire and enhance students current training whilst working and mixing with other classically trained students.
SEBS has proved to be a highly successful programme producing dancers of a high calibre many of whom have gone on to dance at the top schools in the country.
My own dance journey started when I was 3 under Miss Hilary Dickinson and continued through The Hammond and Ballet Rambert School’s before accepting professional contracts firstly with Northern Ballet and subsequently Dutch National Ballet.
I had many renowned teachers who influenced me in my dance development including Svetlana Berisova, Sara Neil, Walter Trevor, Dame Alicia Markova, Dame Beryl Grey, Barbara Fewster, Julia Farron, Brenda Last, Christopher Gable, Lynn Seymour, Alfreda Thorogood, Nanette Glushak and Frank Freeman.
I also worked with many choreographers in both the classical and west end forums Gillian Lynne, Willian Forsythe, Anthony Van Laast, Arlene Phillips, Gary Lloyd, Massimo Moricone and Jean-Christophe Maillot.
The SEBS Faculty has inspired all our students for the last 14 years just the same as all the wonderful teachers who help me in my own personal development.
BP11/11/2021
Shannon Lily Parker
Classical Ballet Teacher
1986–1994 SAN FRANCISCO BALLET
Shannon moved through the ranks of the Company under the direction of Helgi Tomasson; rising from Corps de Ballet to Principal artist in 1990, where she danced many of the Companies Classical and Contemporary Repertoire. Some of the leading roles include Princess Aurora and The Bluebird pas de deux in Tomasson’s Sleeping Beauty, The Ballerina in Jerome Robbins The Concert, leading roles in William Forsythe’s In the middle somewhat elevated and New Sleep, Glen Tetley’s Tagore and Paul Taylor’s Company B. Ms Parker took part in many creations with the likes of David Bintley, Mark Morris and Helgi Tomasson as well as having danced extensively in the Balanchine repertoire. Principal roles include, Tarantella, Tchaikovsky pas de deux, Theme and Variations, Rubies, Serenade, Third and Fourth movement in Symphony and C, Who Cares? And Bugaku, to name just a few.
1994–1999 NORTHERN BALLET THEATRE
Shannon joined Northern Ballet Theatre under the direction of Christopher Gable. Leading roles include, Juliet in Massimo Marricones, Romeo and Juliet, as well as the Niece and Belle in Marricones, A Christmas Carol. Mina from Dracula, Cinderella, Stepsisters and Stepmother from Cinderella, Odette/Odile from Swan Lake, the Title role from Giselle and Kitri from Don Quixote; all of which were created and choreographed by Christopher Gable and Michael Pink. She also created the role of Anne Bronte as well as dancing the role of Charlotte Bronte in Gillian Lynne's, The Bronte's.
1999–2004 BALLET DU RHIN
Shannon ended her performing career with Ballet Du Rhin in France after five years of dancing most of the Companies leading roles, under the directorship of Bertrand D’At. These include Odette and Russian as de deux from D’Ats Swan Lake, the Title role and Peasant Pas de deux from Maina Gielguds Giselle, Steptext and Vile Parody of Address by Forsythe, the lead duet from Tetleys Voluntaries, Lucinda Childs Chamber Symphony, Dance and Mandarin, Gross Fuge by Hans van Manen and lastly, Jiri Kylians Stomping Ground. Davide Bombana created many roles for Ms Parker. Some of those include, Aus de Ferne, Beyond Skin and the role of Marie from his acclaimed Woyzeck where Ms Parker re–created the role. And finally she danced the Pas de deux in Agon as well as both title roles from Concerto Barocco, by Balanchine. Nine months after retiring Ms Parker was invited back to Ballet du Rhin to re–create the role of Odette for D’Ats Swan Lake.
She has since been teaching for Northern Ballet School, Northern Ballet Theatre, York Scholars, The Dance Space, The Arts Garage, Preston College, Horsforth Summer School, and for Gillian Hurst’s Associate programme.
Michael Raynaud
Classical Ballet Teacher
Michael Raynaud was born in Antony , near Paris. He danced locally from the age of seven before starting his formal training at The Paris Opera Ballet School for six years. Whilst at the School, Michael performed all over the world , as well as with the Paris Opera Company as a student. He went on to train at the National Conservatoire in Paris, where he gained his Arts Baccalauréat and Unités de Valeurs in anatomy, Ballet history and musicality.
On completing his training Michael joined English National Ballet for their worldwide tour Swan Lake. He then became a permanent member of the company , performing many roles in the company’s Repertoire, from Rudolph Nureyev’s Romeo and Juliet to Derek Deane’s Swan Lake and Michael Corder’s Cinderella . His favourite ballets to perform are Harald Lander’s Etudes and Sir Kenneth Macmillan’s Rite of Spring.
Upon graduating from the Royal Academy of Dance Professional Dancers Diploma , Michaël was invited to teach workshops and summer schools for the RAD in London, Italy and Germany.
He has taught ballet classes to students and professionals of all ages . He was Associate Tutor for Ballet studies at GSA at the University of Surrey and ballet teacher at the London Boys Ballet School, London Junior/Senior Ballet at ArtsEd as well as guest teaching and judging in New Zealand for DanceMasters International , Italy , Japan , Sweden , Singapore and Brazil.
He recently left the faculty of The School of Ballet Theatre UK after two years to concentrate on new opportunities worldwide.