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Dan Stevens Poster

Biography

Jump to: Overview (3) | Mini Bio (1) | Spouse (1) | Trade Mark (1) | Trivia (7) | Personal Quotes (51)

Overview (3)

Date of Birth 10 October 1982Croydon, Surrey, England, UK
Birth NameDaniel Jonathan Stevens
Height 6' (1.83 m)

Mini Bio (1)

Dan Stevens was born at Croydon in Surrey on 10th October 1982. His parents are teachers. He was educated at Tonbridge School and trained in acting at the National Youth Theatre of Great Britain. He studied English Literature at Emmanuel College, Cambridge. Whilst he was a Cambridge undergraduate, he acted in several student drama productions. He played the title role in the Marlowe Dramatic Society's production of William Shakespeare's play, "Macbeth". This was staged at the Cambridge Arts Theatre from Tuesday 26th February to Saturday 2nd March 2002. The cast also featured Rebecca Hall in the roles of Lady Macbeth and Hecate. During one of his university summer holidays in August 2003 he went to Slovakia where he filmed his scenes for the Hallmark production of Frankenstein (2004). Dan played the part of Henry Clerval and the mini-series was first broadcast on American television on 5th October 2004. Shortly after graduating from Cambridge Dan was nominated for an Ian Charleson award for his performance as Orlando in "As You Like It" at the Rose Theatre at Kingston in Surrey. "As You Like It" was directed by Peter Hall and ran from 30th November to 18th December 2004. This production for the Peter Hall Company subsequently went on a tour of America in the early months of 2005, playing at the Ahmanson Theatre in Los Angeles, the Curran Theater in San Francisco and the Harvey Theater at the Brooklyn Academy of Music in New York City. It featured Rebecca Hall in the role of Rosalind.

Dan was reunited with the director Peter Hall when he played Claudio in a new production of the Shakespeare play, "Much ado about Nothing", for the Peter Hall Company at the Theatre Royal in Bath from 29th June to 6th August 2005. In February 2006 Dan played the parts of Marban and Maitland in a revival of Howard Brenton's controversial play, "The Romans in Britain", directed by Samuel West at the Crucible Theatre in Sheffield. Then in May 2006 he played Nick Guest, the protagonist in The Line of Beauty (2006). This three part television mini-series was adapted by Andrew Davies from the 2004 Booker prize winning novel by Alan Hollinghurst. The Line of Beauty (2006) is about Nick Guest's relationship with his university friend Toby Fedden. The story takes place in the 1980s. It is set against the backdrop of Margaret Thatcher's free market economic policies and the spread of the acquired immunity deficiency syndrome, (AIDS). These two social developments directly affect the characters in the story because Toby's father Gerald is a Conservative member of parliament and Nick is homosexual.

Whilst The Line of Beauty (2006) was being broadcast on BBC television, Dan was appearing as Simon Bliss in the Noël Coward play, "Hay Fever". This play was staged at the Theatre Royal Haymarket in London from 11th April to 5th August 2006 and the cast also included Judi Dench in the role of Judith Bliss. At the end of the year Dan played Lord Holmwood in a television dramatization of Dracula (2006), which was broadcast on 28th December 2006. In 2007 Dan played the part of Michael Faber in Agatha Christie's Marple: Miss Marple: Nemesis (2007), an Agatha Christie adaptation with Geraldine McEwan in the role of Miss Jane Marple. He also featured in the cast of Maxwell (2007), a television drama about the famous newspaper magnate. Maxwell (2007) was first broadcast on British television on 4th May 2007. David Suchet played Robert Maxwell, and Dan took the part of Basil Brookes, one of the press baron's financial directors.

Dan played the part of Edward Ferrars in a television dramatization of Jane Austen's novel, Sense & Sensibility (2008). This was broadcast in three episodes on BBC1 between Tuesday 1st and Sunday 13th January 2008. The novel was adapted for television by Andrew Davies, whom Dan had previously worked with on The Line of Beauty (2006). Davies felt that the part of Edward Ferrars was underdeveloped in the book, and so he deliberately added scenes not included in the novel to help draw out the character. So, for instance, we saw Edward out horse riding on the Norland estate and chopping logs at Barton Cottage. In the DVD audio commentary Dan joked that this was the best example of log chopping ever seen on British television! After Sense & Sensibility (2008), Dan featured in the cast of "The Tennis Court", a BBC Radio 4 Saturday play broadcast on 19th January 2008. He also played Nicky Lancaster in a revival of the Noël Coward play, "The Vortex", at the Apollo Theatre in London from Wednesday 20th February to Saturday 7th June 2008. This was another collaboration with the stage director, Peter Hall. Dan played the eponymous hero of "Dickens Confidential", a six part radio drama series set in the 1830s which imagines what might have happened if Charles Dickens had continued his career as a journalist. This was broadcast on BBC Radio 4 between Monday 9th June and Monday 14th July 2008. He played the part of Peregrine in 'Orley Farm', the BBC Radio 4 Classic Serial. This was a three part adaptation of the novel by Anthony Trollope broadcast between Sunday 28th December 2008 and Sunday 11th January 2009. A month later he played Duval in the BBC Radio 4 Woman's Hour drama, 'The Lady of the Camellias'. This was broadcast between Monday 2nd and Friday 6th February 2009.

- IMDb Mini Biography By: Andrew Bede

Spouse (1)

Susie Hariet (2009 - present) (2 children)

Trade Mark (1)

Bright blue eyes

Trivia (7)

Studied English Literature at Cambridge University.
Was nominated for an Ian Charleson Award for his portrayal of "Orlando" in William Shakespeare's "As You Like It", for the Peter Hall Company in 2005.
Father of Willow (b. December 2009) and Aubrey (b. August 2012).
He was a judge for the Man Booker Prize for Literature in 2012. He had to read 148 novels in eight months.
Is good friends with his Cambridge University schoolmates Rebecca Hall, Eddie Redmayne and Tom Hiddleston.
Is close friends with Benedict Cumberbatch.
He is Editor-at-Large, co-founder and a regular contributor to "The Junket", an on-line literary quarterly that features essays, short fiction and poetry by various writers. The quarterly was founded in 2011, by Stevens and a group of his University of Cambridge friends, to encourage each other to continue writing.

Personal Quotes (51)

[on the controversy surrounding his leaving the 'Downton Abbey' cast to make 'The Guest'] I couldn't have sat down two years ago and said, 'Okay, Julian Fellowes, what I really want to do is a twisted action thriller black comedy with horror elements. Preferably with an American accent'. That would have been insane and highly implausible. But as soon as the opportunity came along it seemed like a reality.
The comfort zone is the great enemy to creativity; moving beyond it necessitates intuition, which in turn configures new perspectives and conquers fears.
A British porch is a musty, forbidding non-room in which to fling a sodden umbrella or a muddy pair of boots; a guard against the elements and strangers. By contrast the good ol' American front porch seems to stand for positivity and openness; a platform from which to welcome or wave farewell; a place where things of significance could happen.
My dad tells me that he took us to a pantomime when I was very, very small - panto being a sort of English phenomenon. There's traditionally a part of the show where they'll invite kids up on the stage to interact with the show. I was too young to remember this, but my dad says that I was running up onstage before they even asked us.
We take so many of our freedoms for granted nowadays - I can travel where I like, I can have a baby when I like, I can do any job I want - but I do think chivalry has been lost a little bit.
The female attention I have to struggle hardest with is from my two-year-old daughter.
Soap opera seems to be a dirty word, but actually they are the most popular shows we have. People want to know what happens next, people hate the villains and love the lovers. It's good, fun TV. But I wouldn't call 'Downton' a soap opera as such.
In the 21st century, I think it's fair to say, homosexuality is more accepted in Britain and it's wonderful that my generation has been able to grow up with that.
I've never tried to find my real parents. I'm very grateful to my mum and dad for adopting me - they're completely incredible people. It was my dad who encouraged me to question everything, to forge my own path, to think, to read. I always felt it was my right to question everything.
I've had to learn when not to tweet. Like, you learn how to keep your mouth shut? Learn to keep your tweet shut.
All my early school reports from the age of 5 were 'Daniel must learn not to distract others.'
I don't see money or a particular status as an actor as a goal, but I want to do the best work I can in as interesting a range of roles as I can.
I'm a huge fan of Eighties music.
It's nice to get your glad rags on for awards like the Baftas, but it doesn't happen all the time.
Everything's so accelerated now.
Books are my weakness.
Not a lot of people would think that I spent most of my early years totally rebelling against anything I could, getting suspended from school, going on demonstrations.
At the age of 11 I was about 6 ft. tall and my voice had completely broken. That caused problems. I was this gangly, spotty, very unattractive kid. I wasn't cool and I wasn't a nerd. I didn't even want to fit in with anyone.
You can be romantically interested in someone and love them and still, I think, be really interested in things and a certain lifestyle that person might provide.
I saw Mercury Prize-winners Alt-J for the first time recently, touring their debut album 'An Awesome Wave,' and I'm still riding the high: they're the most musically dynamic and exciting band to have poured tune into my lug holes live since Bellowhead.
Planet Earth (2006) was such an extraordinary series and the 'Making Of'... is fascinating: the creatures and stories behind the camera are just as fascinating as those in front. It's a bit of a dream come true to be a part of the team in some small way.
I always wanted to be an actor.
Coming back to theatre is something I'm keen to do for the rest of my life. It recharges my batteries, so to speak.
I don't know much about my biological background.
I don't think many people get to play big emotions in life.
I don't think there's ever a right time to have kids. I'm actually pretty glad it's happened quite young.
I haven't done as many films as I would have liked.
I was a pretty difficult teenager.
I've never been a fan of directors who clutter a piece with all sorts of crazy preconceptions or weird ideas.
At 13, in my first year of Tonbridge, I went up for the part of Macbeth. I was up against the 17- and 18-year-olds, but for some reason I got the part. It made me incredibly unpopular with my peers, but it was the English and drama teachers who stepped in to save me when others wanted me kicked out of the school.
When it is good, theatre takes a lot of beating both to watch and perform.
But even writing the column for the 'Telegraph,' that idea of working to deadlines, which as an actor that's not something you have to do in the same way. It's excited me into wanting to do a bit more.
I never quite toed the line.
People look at me, they know I've appeared in costume dramas and they automatically assume I must be a Tory, I must be a certain type of person.
Every night, half an hour before curtain up, the bells of St. Malachy's, the Actors' Chapel on New York's 49th Street, peal the tune of 'There's No Business Like Show Business.' If you walk the streets of the theatre district before a show and see the vast, enthusiastic lines it sounds like a calling: there is certainly no place like Broadway.
I want to spend as much time as I can with my family, yet I'm aware of having to bring home the bacon.
I was never very happy at school.
I'm shocked at being recognized.
I would like to do something modern and possibly funny.
I'm sure I wouldn't have been asked to judge the Man Booker if it weren't for 'Downton.'
I've been a lucky boy.
What was interesting was talking to older gay men about what it was like being gay in the Eighties.
I have only recently got interested in film, and it is a strange way of working in many ways. But actually, when it is at its best, it's quite an extraordinary way of working between a director and an actor, to really explore an inner life.
The Broadway audiences are very vocal and seem very engaged. For certain shows, especially with a show like 'The Heiress,' the audience's reactions sound like Jerry Springer (1991) sometimes. That seems to be a very New York thing. Oh, there's also the entrance round of applause here, which we don't get too much in London.
My dad's family were pretty working class, actually.
As long as I am given the opportunity to keep performing and keep exploring in whatever medium, I'll be happy. As long as I get to spend time with my family, I'll be happy. As long as I can write in some form, I'll be happy. It is the essential things like that I equate with happiness.
It's head and heart. I like to feed both. I always wanted to be an actor. But the cultural-intellectual side of things has always excited me. I wouldn't want to let it go.
Oh, it is quite possible that none of us in 'Downton' will ever again get the ratings this has had. But from a career point of view, it has opened so many doors.
I'm amazed by just constantly - there's not a week that goes past where there's not someone in Ulan Bator or Rio De Janeiro suddenly says, 'Ooh, 'Downton' started this week.' You completely forget it's staggered across the world.
I'm lucky to be married to someone who entirely gets what I do. She is totally sympathetic to the actor's life. Her own mother was an actress, so she sort of grew up with it.
None of us had any idea of how successful 'Downton' was going to be. I thought I was signing up for another period drama that had a slightly modern feel. It had a freedom about it because it was coming out of the head of Julian Fellowes. Anything could happen and generally did.

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