Watching Credulous felt like tumbling headfirst into a whimsical fever dream—one that somehow managed to be both laugh-out-loud fun and deeply moving. Presented by Verum Arts at the Merthyr Road Uniting Church, this original jazz musical, the brainchild of Arina Dara and playwright Phoebe Quinn, took the complicated emotions of grief and loss and spun them into something spellbindingly fantastical.
As soon as the overture began—performed by the jazz band consisting of Max Berger, Alex Wilson, Tristan Hargreaves, Kyle Neilan, and Eden Gray—I knew I was in for something special. With music by Max Berger and Alex Wilson, lyrics by Jake Brown, Ernest Corbet, Arina Dara, Mak Harris, and Alex Wilson, and direction from Arina Dara and Ernest Corbet, Credulous delivered a completely original score wrapped in self-aware storytelling.
The story opens with Venus (Isaac Ruthenberg) and his minions concocting a mysterious potion—but something’s missing. Meanwhile, young lovers Toby (Ethan Irvine) and Aida (Maddie Martin) revel in the warmth of domestic bliss, dancing in their living room and planning a romantic getaway. And then, in a devastating instant, everything shatters. Toby’s sudden accident sends Aida spiralling into a whirlwind of grief—precisely the emotion Venus needs to complete his spell. Lured into Venus' lair, Aida is presented with a choice: accept reality or risk everything to bring Toby back.
Maddie Martin delivered a profoundly emotional and grounded performance as Aida, particularly excelling in her portrayal of the shifting stages of grief. Her duet with Ethan in the 'Happy Sad Song' was moving, and her voice carried sincerity. Ethan Irvine’s portrayal of Toby was equally endearing, capturing the warmth and devotion of a man in love in every lingering moment—even when separated by death. His opening number, 'Toby's Song', beautifully established their relationship, with Ethan’s voice embodying that classic Disney Prince quality—warm, hopeful, and completely enamoured with Aida. Their dynamic felt natural—like we were spying on a real couple's conversation, including the occasional cracks that form in communication.
What made this show so compelling was its ability to balance light-hearted musical absurdity with a deeply human truths. The show invited audiences to see themselves in Aida’s journey, grappling with denial, anger, depression, and the desperate hope to rewrite fate. Maddie's portrayal of Aida’s anger stage is strikingly real, particularly in the moments where she is overwhelmed with well-meaning condolences at work while still haunted—quite literally—by Toby’s absence. This frustration and aching need for closure is beautifully woven into the fabric of the show.
This brings me to Venus, the enigmatic wizard-god-sorcerer played to perfection by Isaac Ruthenberg. His impeccable voice acting and comedic timing made Venus a captivating and multifaceted antagonist. The showstopper 'Meeting Venus' was a particular highlight, exuding the seduction and mischief found in the best villain songs. While the trumpet and sax occasionally threatened to overshadow Isaac’s performance, his voice still commanded attention—smooth and intoxicating, with a jazzy vibrato in the verses and a bold, powerful delivery in the chorus. Isaac was absolutely irresistible, both in tone and presence.
The supporting characters added even more texture to this already vibrant world. Ella Dickson was a scene-stealer as Rosie, the hilariously irritating ‘cat lady’ co-worker, with her deliberately grating voice and comically dramatic reactions. Tabitha Franklin and Ella, as the Whispers—Venus' mischievous, gremlin-like minions—injected the show with zany physical comedy that kept the energy high. Spooky’s portrayal of Lydia, Aida’s mother, offered a grounded, wry counterbalance to the chaos around her. Her interactions with Isaac were among the sharpest, sweetest, and most entertaining moments in the script. In her duet with Maddie, 'The Hair is the Thing,' Lydia’s role as the grounding force became clear as she tried to prevent her daughter from spiralling too far into the bargaining stage.
One of the more fascinating elements of Act Two was their interpretation of the afterlife. Venus’ explanation of Limbo—not to be confused with Purgatory—was particularly memorable, offering a creative and thought-provoking perspective on what occurs after death. This led to the 'Limbo Song', a lively group number led by Tabitha as Cari, where Aida finds herself in a surreal, existential conversation about grief, loneliness, and purpose, all while continuously dancing. This extended sequence blended choreography (by Jasmine Muir) and dialogue in a way that kept the audience completely absorbed.
And then there was the music. The jazz-infused score was absolutely stunning. 'Venus’ Ballad' was an unexpectedly moving moment—not only a showcase for Isaac’s exceptional vocals but also a revelation of Venus’ own hidden grief and motivations, shaped by the loss of his parents. The weight of his guilt, pain, and loneliness, woven into a hauntingly beautiful melody and lyrics, offers a moment of raw vulnerability that stands in stark contrast to his earlier playful bravado.
‘Aida’s Decision’ closed Act One not as a sombre lament, but as an upbeat anthem of yearning for one more day with your beloved—a bold choice that succeeded beautifully. By the time we reached the finale, 'Love’s a Guiding Light,' I found myself completely swept up in the show’s message. The reunion between Aida and Toby was genuinely heartwarming, with Ethan’s portrayal adding a layer of tenderness that made Toby’s presence feel comforting, even in its bittersweetness. The dialogue in this final conversation was so poignant, I found myself wishing I could bottle it up and carry it with me always.
The production’s designer, Hollie Pianta, made choices that were simple but effective. Fairy lights shifted colours to match the mood, and the drapes and cauldron of green and purple set a mystical tone. The minimal set was adaptable to allow for transitions (albeit a bit lengthy) between the mundane and the magical. Caleb Bartlett’s lighting and sound design enhanced every moment, especially during ‘The Spell Song,’ where the lights synchronised with each potion ingredient being added—a stunning example of how simple effects, when executed well, can elevate a scene.
Verum Arts, founded by QUT graduates in 2023, proves that emerging artists can craft worlds just as rich and compelling as those from seasoned theatre companies. Credulous doesn’t merely tell us a story; it builds a world that pulses with life, pain, and wonder. This production left an imprint, not only for its originality but for the raw honesty woven into its magical narrative. It’s a show that truly deserves to be seen and celebrated.
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