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Shannon Lily


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. 



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. 

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