Angeline Ball Phone Number, Fanmail Address, Autograph Request and Contact Details

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Angeline Ball Contact Details:

REAL NAME: Angeline Ball
NICKNAME: Angeline Ball
DOB: 1969
BIRTHPLACE: Dublin, Ireland
NATIONALITY: Irish
BIRTH SIGN: Not Available
PROFESSION: Actress
FATHER: Not Known
MOTHER: Not Known
SIBLINGS: NA
SPOUSE / HUSBAND: NA
CHILDREN: NA
INSTAGRAM: https://www.instagram.com/angelineball/
TWITTER: https://twitter.com/angelineball
FACEBOOK: https://www.facebook.com/angelineballoffical
YOUTUBE CHANNEL: NA

Angeline Ball Bio

A native of Dublin’s Cabra neighborhood, Ball grew up in a family of three sisters. At the age of eight, she attended the Billie Barry Stage School, where she studied tap, ballet, and modern dance. She is best recognized for her roles in The Commitments (1991) and The General (1993) by John Boorman (1998). She has acted in both British and American feature films and television series. Aside from that, she performs on stage. When she featured as Imelda Quirke in Alan Parker’s The Commitments in 1991, she made her film debut.

Over the Rainbow was a short-lived television series written by Ian La Frenais and Dick Clement for her in 1993, for which she also wrote the music. She sang “Smile” by Charlie Chaplin for her role as Vada’s mother in My Girl 2 in 1994. In 1996, she teamed up with Alan Parker once more to sing background vocals for the soundtrack album for the film Evita. Tina Cahill, Martin Cahill’s wife, appeared in John Boorman’s 1997 film The General, alongside Brendan Gleeson.

Mr. Selfridge, Doc Martin, and Shameless were just a few of Ball’s roles on UK television in the 2000s. For the BBC soap opera EastEnders, she had her first appearance on May 26, 2008, and her final appearance was on June 11, 2008. Angeline Ball will be back on our screens this autumn in a variety of roles, including a vulnerable northside hairdresser in the new film Deadly Cuts and a CAB officer in an upcoming RTÉ drama.

In this interview, she discusses her childhood in Cabra, her struggles with popularity, and her intentions to write a Beckettian one-woman play. Trapped in gridlock is Angeline Ball. Even on Sundays, central London tends to be jammed, and she has pulled over to talk to me on Zoom: her son Max sits peacefully in the passenger seat, studying his iPad and not certainly listening in.

Ball and her French spouse, Patrice Gueroult, have two children and have resided in London for several decades. Her thoughts, however, have recently shifted back to her hometown. Because the globe has opened up so much more, it’s possible to be situated anywhere and still work, and my children are of an age where returning home won’t be too far off. To my annoyance, when I say she hasn’t changed at all, she responds by laughing.

I can’t believe I just said that. When I’m on the phone with my sister, our kids say I have an Irish accent, but I don’t—I think it simply gets a little thicker.” Of course, Alan Parker’s The Commitments, a cultural earthquake in Dublin that contributed to Ball’s exodus, used that dialect most famously. We’ll get to that in a moment, but in the meanwhile, you can see her in a new movie.

Ball stars as Michelle, the owner of a hair salon in Piglinstown, a working-class neighborhood in north Dublin, in Rachel Carey’s debut feature film, Deadly Cuts. Deano’s gang is threatening to shut down the salon, which has become a meeting place and informal therapy center for the area’s women, but the gang is under siege from the salon’s owner, who is on the run (played by Ian Lloyd-Anderson, who has come to specialize in wingnuts).

By winning a high-profile hairdressing competition, Michelle and her three daughters may survive. After reading the character’s backstory, “I think, when I read the character, it was one of those ones where I said, ‘I can’t play it.'” Although she has a vulnerable air about her, I found it endearing that she has her wits about her while paddling furiously beneath the surface.

For Michelle’s sake, I wrote a full backstory for Rachel to better understand her character and where she was in her life. As a result of her lack of children, I believe she is devoted solely to working at the salon. It’s like therapy for the consumers, but Michelle needs it just as much as anyone else.” Deadly Cuts isn’t hesitant to draw on Dublin’s oldest grudge fight, the northside-southside rivalry, as the situation for Michelle and company darkens.

Were you aware that had been there for a long time?” When we get up to the hair competition, the guy at the door says, “don’t shoot.” That’s one of my favorite lines from the movie. That’s right, they’ve already concluded that we’re a threat and that we’ll inflict harm. Preconceptions abound; they may be less prevalent today as neighborhoods are becoming more diverse, but I believe they were prevalent in the past.

Because I grew up in Cabra West, the wild west, the west was always worse than the rest of Cabra. In retrospect, I would have wondered if I should enter my real address on the application or not. That was the experience. While Billie Barry has become synonymous with precocious youngsters performing cartwheels on the Late Late Show, Ball has nothing but admiration for the Dublin stage school, which was a significant part of her youth. The ball was born in 1969 and is the youngest of three sisters.

The fact that I was able to continue in Cabra West’s world was purely coincidental. It was an escapist for me, as well as a wonderful resource for other children. “But I didn’t set out to be an actress when I was eight or anything like that. It was like a big summer camp for kids from all over Dublin, but mostly from the northside, and it was a terrific chance for them to make friends outside of their neighborhood and outside of school.

It also honed your independence and taught you not to be too upset if you didn’t receive what you expected, as well as how to be somewhat self-reliant. As a result, I never put it down since I believe it was a wonderful experience. Even if kids come from underprivileged places, “it’s a nice escapism for them, you know.” Ball had already established herself as an actor prior to The Commitments.

As a dancer and pantomime performer, “I was able to master the art of the trade by performing with Brendan Grace, and Dickie Rock, and Twink at the Braemor Rooms, the Clontarf Castle, the Olympia, the Gaiety; yep, all of those places.” So yeah, I was doing all of that and I’d met the Hubbards a couple of times before The Commitments (the powerful casting agents).”

Parker’s film adaption of Roddy Doyle’s Barrytown was released in the United States and the United Kingdom thirty years ago this month (bizarrely, it had been unleashed first on a somewhat bemused US public). The role of outspoken backing vocalist Imelda Quirke in the tragic but wonderful Dublin soul band that implodes just as they are about to achieve big commercial success was landed by Ball when she was 21 years old.

Along with other then-unknown performers such as Maria Doyle Kennedy, Glen Hansard, Robert Arkins, and Andrew Strong, she was cast in the film. None of them realized that their lives were about to undergo a fundamental shift while filming the movie. Angeline, somewhat understandably, isn’t a fan of revisiting the topic.

I ask her why she doesn’t want to talk about The Commitments much more because she says she feels like she talks about it all the time. The fact that the film is 30 years old still surprises her. Incredibly, it’s still standing after all these years.”

In terms of the film, we had no idea it would be this huge, and it managed to blow away whatever preconceived notions we had.” There was a group of boisterous expat Dubliners cheering enthusiastically as it played in a London cinema; their city’s humor and salty argot were being appreciated on the biggest platform for the first time. Ball, on the other hand, saw the success of the picture as a double-edged sword.

‘Nowadays, with stuff like X-Factor and all these instant success shows, they have everything to guide them: PRs, PAs, managers, and everyone else.’ It was difficult to know what to do when we were forced back into Dublin after our trip had ended with nothing — I mean, simply nothing. A person’s identity is not the same when they lose their anonymity and everyone in the pub or M&S knows who they are, yet they are not the same person.

That’s a scary thought. Introspection is possible, and I’ve experienced it myself. Being able to remain anonymous was one of the primary motivations for my relocation to London. The Commitments, on the other hand, would be an ineffective launching pad for the majority of its rising stars due to its own singularity.

And while Ball went on to star in a number of high-profile Irish films, including Trojan Eddie and The General, she had relocated to London by the end of the 1990s, where she found work almost quickly. While living in London, I was able to secure more television work and fascinating projects, I had to fight a little harder because I was Irish.

Shameless, for example, I wanted to be a Mancunian in it, you know.  She also appeared in EastEnders and Mr. Selfridge, although her family duties often prevented her from pursuing her acting career. “I mean, I wanted to be a stay-at-home mom; that was extremely important to me. Work has been inconsistent because I wanted to be present for my children, but that was my choice. But now, I’m up for the challenge.”

Angeline Ball Contact Address, Phone Number, Email ID, Website
Phone Number	NA
House address (residence address)	United Agents Ltd. 12-26 Lexington Street London, W1F 0LE UK
Official Website	NA
Snapchat Id	NA
Whatsapp No.	NA
Instagram	https://www.instagram.com/angelineball/
Facebook	https://www.facebook.com/angelineballoffical
Spotify	NA
Twitter	https://twitter.com/angelineball
TicTok Id	NA
Email Address	NA
Office address	NA
Office Number	NA

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Phone number: NA
Email id: NA

Angeline Ball Fanmail address: 

Angeline Ball
United Agents Ltd.
12-26 Lexington Street
London, W1F 0LE
UK

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