Kauboj (pronounced cowboy), written by Sime Knežević, promises “Johnny Cash meets a ćevapi” in a Croatian-Australian cabaret. It sounds a novel concept, helping the show stand out from the crowd for Fringe punters. The story skims across a lot of ground, at a cost of insights into the main character at times. Still, the original music and musicianship on offer delivered plenty of enjoyable moments.
We’re given an appealing introduction thanks to our two musician/vocalists. Laid-back Daniel Potaczala on electric guitar capably handled tunes with a recognisably western rhythm (think of Folsom Prison Blues by “the man in black”) through to more plaintive chords that effectively emulated steel guitar.
Animated Mara Knežević (previously seen in another Croatian-Australian story: Ljubicica – Wild Violet) on acoustic guitar was our bilingual lead vocalist, narrator, and creator of a cast of characters.
Our story begins in Croatia, between mountains and the Dalmatian coast. Here, eight-year-old Jakov has two main interests: cowboys and helping his mother cook for gatherings. Food and westerns would continue to influence his choices into adulthood, leading to some adventures.
At 18, a stroke of luck would bring Jakov to Sydney. Good fortune continues as our culinary hero quickly walks his cowboy boots into a job in a Croatian restaurant run by the Cravat Brothers. However, at home, a war edges towards his village.
Maybe the creators don’t want to go too deeply into the horrors of war. But, given the show’s framing, it feels that the vague treatment here is unable to illuminate what the period (of the 1990s) meant to the Croatian people. Those needing the story to supply context (fringe audiences tend to skew young) might only gain a very generic sense of Jakov’s mindset.
At other times we might feel that the story is reaching for an emotional beat that isn’t convincing. When Jakov meets Nancy, and we are told that she gives him what he’s been missing, it can’t resonate with us – we haven’t seen our protagonist suffer all that much, aside from the odd professional embarrassment.
The story devotes far more time to comedic areas, and seems more assured here. For example, a rousing tune about drinking with the Cravat Brothers gave us some insight into how Croatians like to enjoy themselves after a day of hard work.
With an impish twinkle, our narrator embodied the imaginative young Jakov, then effectively related a high-noon style stand-off between him as an adult, and potential employers. There was also some high-energy rendering of the consequences of Jakov’s bolder business decisions. Musically speaking, the blending of folk melodies with the western genre gave us some toe-tapping tunes. Eye-catching costuming adds to the appeal of this cute show.
The show started quite late due to a ticket scanner issue, and it was unfortunate to (yet again) be at a Fringe show with sound issues. These particularly affected a headset microphone, detracting from Knežević’s vocals, and a chunk of Potaczala’s harmonica playing was buried. Given how festivals are busy times, and the show’s clear potential, we can hope that these gremlins are banished soon.
Although Trades Hall holds a lot of appeal at this time of year, a trip elsewhere can also deliver the Fringe goods. Kauboj is at least as distinctive as a skinless sausage, and on an evening at the Motley Bauhaus, would pair nicely with another oddly charming show, say The Festival of the Entire Universe. Based on comments made after the performance last Friday, I expect this work in progress has developed further, and it gives the rare opportunity to see Frank Woodley, interviewing the droll-yet-intense Lazlo Steigenberger, up close.
Kauboj
The Motley Bauhaus (Cabaret Stage), 118 Elgin Street, Carlton
Performance: Tuesday 6 October 2026 (8:20pm)
Season continues to 11 October 2026
Information and Bookings: www.melbournefringe.com.au
Image: Kauboj – photo by Ben Draisma
Review: Jason Whyte