Jess Robinson: Elton Reimagined continues at Piccolo Tent at Assembly George Square Gardens until 30 August 2026 (except 17).
Star rating: five stars ★ ★ ★ ★ ★
This wickedly funny half-girl, half-jukebox returns to the Fringe for 2026 with a mischievously revised love letter to Elton John delivered by an infinite variety of historical and contemporary celebrity women.
With the help of ‘a show-off of divas’ spilling out of the greenroom of her mind who demand attention, Jess Robinson dominates a constantly upbeat cabaret of vocalisations and impressions as sparkly as the beautiful tent’s mirror ball.
Robinson’s pre-show sets the tone and reveals her responsive personality as she nurtures her audience as friends before they even take their seats. From the off, she absolutely brims with a love of performing to an audience, striving hard to give the crowd ‘the best time of your lives’.
Her caring nature and consummate professionalism as a seasoned communicator spills over into the show itself as she bonds obtrusively, and subtly, with individual members of the crowd – making them feel extra special.
A well-known performer from stage and screen, including as a voiceover for gaming and other soundtracks, Robinson’s careful interweaving of her own life story is intriguing and carefully done. Although not overtly highlighting specific songs that have soundtracked her life, learning why and how Elton makes her tick is a subtext which sustains attention and also adds to the humour. Watch out for an occasional ribald aside that may well land her in hot water as the run goes on.
Robinson’s framework though is musical as she showcases a variety of styles and vocal characterisations which reveal her compositional talent as well as superb vocal ability. Everyone will leave the tent with their personal favourite. Mine was the impression of Ariana Grande flicking her ponytail at an introverted yet sublime Katherine Jenkins quipped at by Julie Andrews’ RP tones – a trio capable of appealing across generations.
Robinson’s mouth organ prowess wowed the audience, and the pink descant recorder she substituted for Shakira’s panpipes caused an outbreak of supportive sniggering. Further use of props might enhance Robinson’s flipping between extremes of womanhood and women from all walks of life.
But it’s as a mistress of extended voice techniques and sheer beauty of sound that Robinson scores. She doesn’t really have time for costume changes when her focus shifts from Lorraine Kelly’s giggle to Lulu’s husky Scottish rasp and from the late Queen’s primness to Theresa May’s guffaw.
The most genius moment occurs as a result of the audience-led selection of real-life characters, which, presented as a children’s game, offers an astounding delivery of the classic ‘Don’t Go Breaking My Heart’. But do watch where you sit for this pièce de résistance or you may end up with the peg bag.
Not put off after an hour of some well-honed cross-eyed humming, many exited the tent still ‘Streislanding’. Robinson charms with her own twists on diva-styled recomposed Elton hits and almost belts the Piccolo tent into space (boots and all).
Charlotte Purkis
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