SATURDAY, OCTOBER 18, 2025

BIAF 25: Ottilie
Jolene O'Hara as Ottilie Patterson in 'Ottilie'. Production Photo: Neil Harrison

Simply breathtaking in its exploration of an artist's natural evolution, Richard Clements' sublime Ottilie, directed by Matthew McElhinney and starring Jolene O'Hara, is a one-woman show of peerless quality. Chronicling the real life of Northern Irish blues singer Ottilie Patterson with a rich, poignant narrative and a series of show stopping musical set pieces, Ottilie is theatre that moves in every sense – it gets its star moving, it gets its audience moving, and it gets the tears moving down the cheeks. It's an evolution within a story that feels like a revolution outside it, both in the music and in the messaging.

How should one approach Ottilie, especially if they may never have heard about the life and times of the Comber-born chanteuse before O'Hara has even stepped onto the stage for the World Premiere of this production at Belfast's Grand Opera House's studio? Well, there is plenty to find both for "newbies" and for those familiar with the history, with the tale's presentation excellently relayed through the edifying and entertaining potential in sight, sound and scripting. Tracey Lindsay's set and costume design, with a large, broken record in the background and scattered pages all over the stage, hint at the fractured but fascinating and colourful personality that will be introduced, or re-introduced, to viewers with the vital assistance of Mary Tumelty's clever lighting and Zak Irvine's accompaniment on piano.

As the story of Ottilie Patterson, played by O'Hara, proceeds, from her origins in Comber, to her introduction to music, to her long and turbulent history with Chris Barber and his jazz band, and more, insights emerge steadily and truthfully, with a series of musical interludes that not only spark things up and exhibit O'Hara's wondrously versatile vocal talent but also develop the character before our eyes. Numbers of note include her "jazzing up" of "Amazing Grace" - a witty commentary on how modernising of the artistic status quo seems to be so common? - as well as a very sweet rendition of "Down By The Riverside" and a chucklesome medley of "Jingle Bells", "Wheels On The Bus" and "Boogie Woogie Bugle Boy". The loud applause each tune brings seems like heartwarming inspiration to both this Ottilie and O'Hara, an invaluable contribution in universe and out of it, with passion and determination clearly increasing.

Jolene O'Hara as Ottilie Patterson in 'Ottilie'. Production Photo: Neil Harrison

The questions posed and the issues examined in Clements' script are bold and vital. We really feel for this Ottilie, partly because the following of this artistic dream, regardless of the location, the talent and the desire, invites a highly thorny public lifestyle with excessive scrutiny and a threat to a stable identity. In a big way, the safest place for a singer to escape to and express themselves is the stage, but what happens when anxiety and personal life intervenes and both the voice and person are, inevitably, hard hit? The need for artists to be nurtured and guided accordingly has been talked about, but so too has the wisdom and vision that arises from their own path, their own discoveries and their own mistakes. It's demanding material for a play of almost two hours, but McElhinney's direction is strong, enabling O'Hara to eloquently and powerfully meet the tremendous challenges set by the excellent writing. 

I think I hear it said at one point, on stage, that there may be no point in flying if it makes you cry... but then you'll never know unless you try. That, maybe, is the heart and the drive of Ottilie, one of so many things which I have no doubt will ensure that if you didn't know who Ottilie Patterson was before the show began, then you definitely won't forget her afterwards. Her legacy has been honoured for all in the audience to see, and they've seen it in probably the most enriching way imaginable. Music and memories are there to be reflected on, complemented and replayed – through Ottilie, we've returned to learn, and we've learned most memorably.

Simon Fallaha

Ottilie runs in the Studio at the Grand Opera House, Belfast, as part of the Belfast International Arts Festival 2025 #BIAF25 until Friday October 24. For more information, click here.