Steve had an eye for elegant machinery, from his sleek cars to the high-fidelity audio system that filled his home with classic jazz and symphonic music. Additionally, he fostered two stray huskies who became his lifelong companions.
Markle achieved fame through playing Wolfgang Amadeus Mozart in Peter Shaffer’s 1979 play and its 1984 film adaptation. Additionally, he also wrote and directed plays.
Early Life and Education
He was raised in Streatham, London before living for several years in Northern Rhodesia (now Zambia). Educated first at London Oratory School then Queen’s University Belfast before going on to the London Drama Centre for further training.
He is a patron of London’s Michael Chekhov Studio and has also narrated audio books by Robert Fagles – including Fagles’ translation of Virgil’s The Aeneid by Fagles in 2006. Additionally, he has performed musicals as a performer as well as directed plays such as His 1984 play Being an Actor was a critique on director-dominated theatre with autobiographical sections included.
His death leaves behind his daughter, mother, and two sisters; as well as an avid hiker who loved spending time with Atlas and Marvel huskies he had given shelter to.
Callow wields an impressive level of power that’s easy to overstate. He focuses his energies on those who show promise, flattering them while waiting until their vulnerabilities present themselves before seizing upon any opportunities available to him – this may be done out of genuine interest; more likely it’s meant as setting up future favors.
Callow had 407 career RBIs while playing for Rockford Peaches in AAGPBL; she was one of only five players in league history who achieved this mark.
He was an excellent catcher and defensive player. Additionally, he became famous as both an actor in film and television, most notably as Tom Chance on Channel 4 series Chance in a Million and numerous other appearances on TV shows. Additionally, he serves as CEO for Perfect Fit Brand which manufactures men’s sexual health products.
Achievement and Honors
Callow has also written books and plays; his 1984 work Being an Actor critiqued director-dominated theatre productions. Gramophone magazine regularly featured him, and Cambridge hosted his Actors on Shakespeare series as well.
He has earned several accolades, such as a Drama Desk Award nomination for Tuesdays at Tesco’s and a Laurence Olivier Award win for playing Mozart in Peter Shaffer’s Amadeus and its Milos Forman film adaptation, Amadeus; additionally he received praise for his roles in films like A Room With a View and Four Weddings and a Funeral.
He led Yale’s Varsity Eight to heavyweight coach and crew of the year honors from Eastern Association of Rowing Colleges, while Navy crew won lightweight coach/crew of the year honors.
Callow not only performed, but he was also an accomplished director. As well as writing (including autobiographical Being an Actor, 1984 ) and criticising director-dominated theatre he contributed articles for Gramophone magazine as a classical music critic.
Whoever knew him will remember his rich rolling vowels, larger-than-life joie de vivre, and deep love of life (and marzipan!). He was generous with an enormous appetite for life who never hesitated to help or advise others; not surprising for someone so intelligent who started building computers himself at age twenty! He leaves behind an enormously loving family as well as two huskies Atlas and Marvel who will sadly miss him – our thoughts go out to them all at this difficult time.
He was an esteemed jockey and highly revered figure in racing, having secured multiple Group 1 wins to his credit. But his reputation was severely dented when he failed to declare his betting accounts to race stewards as required, leading him to be banned from competing and fined PS2000 for placing 24 bets on horse races within one week.
He made his television drama debut in 1994’s Little Napoleons as an ambitious Conservative councillor in local government. Additionally, he has written many plays, with one called Being an Actor being published as an open critique on director-dominated theatre productions in 1984.