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steve and an apple
Steven Player is a dancer, musician, choreographer, actor, teacher and lecturer and specialises in dance from the renaissance and baroque periods. He has appeared worldwide with leading period ensembles as a soloist and in ensemble, and is renowned for his spontaneous, humorous and highly skilled performances.

Having gained a degree in art from Falmouth School of Art, Steven studied guitar and lute at the Royal College of Music. This, combined with his study of the ‘Commedia delle Arte’, has led to work with many groups and organisations including, Tragicommedia, circa 1500, Los Otros (Germany), the Balthasar Neumann Ensemble (Germany), The Royal Shakespeare Company, Barokksolistene (Norway), Det Norske Kammerorkester, Concerto Copenhagen and Apollo's Fire (USA). He was a core member of The Harp Consort for 16 years and has played on many of their recordings. He received the EchoKlassik prize for recordings with The Harp Consort and Los Otros. He has taught at many schools and universities. Among the most recent are The Guildhall School of Music and Drama, Metropolitan University, Helsinki and the University of Western Australia, Perth.

Highlights of the past year include two tours in the USA with Apollo's Fire (the Cleveland Baroque Orchestra), choreography and performance in Purcell's Dido and Aeneas for Concerto Copenhagen in Copenhagen and the creation of a Pub Opera with Barokksolistene and Den Nyopera, Esbjerg based on the collected editions of John Playford's The Dancing Master.

‘Dancing lutenist Steven Player sets the stage on fire with his elegant pirouettes on one foot, successive entrechats in which the legs are crossed mid-air, swaggering cabrioles and percussive footwork. He has comic flair and breathes life into Carolan's jigs.’

‘Steve Player, who performed as a dancer, actor, singer, and musician, absolutely stole the show with his clowning and drunken gymnastics.’
Atlanta Celtic Quarterly

‘With heels and toes tapping like a Renaissance Fred Astaire, and with flourishes of the legs and hands that Michael Flatley might have envied, and the right degree of hauteur one associates with flamenco dancers, Steven Player was worth the price of admission by himself. Tossing off pirouettes, entrechats and a variety of other arabesques without, apparently, breaking into a sweat, his was an utterly convincing demonstration of a conviction that rhythmic movement can alter the way such music can, even should, be performed.’
Adelaide Review