Scotland’s Loch Ness Monster has been stealthily paddling around for quite some time now. The downside of largely eluding human eyes is that a creature could get lonely over a long life.
Perhaps for this reason, Nessie now feels prompted to (somehow) give Melbourne audiences a few autobiographical insights through The Loch of Love. The result is a quaint show where an original idea finds its most appealing expression through cute and quirky moments.
Nessie isn’t just a creature (represented by a hand puppet that looks something like a leafy sea dragon); she’s also an idea, appearing to us with a humanoid visage (Madeleine Martin’s clown alter-ego: Puffling).
This is a smart way to enable a division of labour, as the show’s mechanics require. Puffling’s makeup recalling fish scales, and dark blue dress with sparkles, help us quickly accept her as a suitably mysterious, aquatic presence.
An opening musical number effectively demonstrated Martin’s skill in ventriloquism, a notable talent given its scarcity these days (like Nessie’s kind). Much of the rest of the show would have Nessie’s forms responding to questions submitted earlier, notionally by people residing in the greater Melbourne area.
We would be surprised by how Nessie’s responses to various questions – such as whether she uses SONAR – could reveal her talents and interests. These absurdist glimpses tended to be more effective when they were concise. On the odd occasion, as in a dance routine to Britney Spears Hit Me Baby One More Time (from 1998), the joke feels overly stretched.
Martin has trained in Clown at École Philippe Gaulier, and we can feel the benefit of this experience. Mask work, assisted by a suitably dreamy soundscape and lighting, could make us feel that Nessie is effortlessly gliding through watery depths with quiet dignity.
There were a few technical glitches on this night, which largely didn’t matter much. But they may have obscured the dramatic peak of the show, only recognised in retrospect when Nessie, trying to keep the tone light, advised us to not worry about it.
Enjoyable moments included a riff on Roxie from the musical Chicago, which fitted well within an educational sequence on the 1930s when Nessie was at the peak of her fame. Whilst being a little uneven, the naïve charm of this well-performed piece makes it a pleasant hour of fantasy escapism.
This is both a new show and debut solo work for Martin. Those liking a touch of the fantastical in their fringing will find enough motivation here to keep an eye out for what she does next.
The Loch of Love
The Motley Wherehaus (Vault 1), 432 Queen Street, Melbourne
Performance: Wednesday 7 October 2026 (6.00pm)
Season continues to 11 October 2026
Information and Bookings: www.melbournefringe.com.au
Image: Puffling in The Loch of Love (supplied)
Review: Jason Whyte