Dean Regan's Performances Reviewed

Feinstein’s at the Loews Regency, October 2011

I first became aware of Dean Regan when I featured his CD, “Give My Regards to Broadway” on my WKRB radio program. The CD is excellent and I wanted to see if Mr. Regan would be as good in person, last Sunday night at Feinstein’s as he was on the recording. Mr. Regan’s debut at Feinstein’s showed that he was even better on stage.

He is a very theatrical performer who moves very well, has an interesting and witty line of patter in addition to his vocal ability.

The show at Feinstein’s reprised much of the material on the CD. The songs were some of Broadway’s Best including the works of Sondheim, Stephen Schwartz, Frank Loesser and George M Cohan. He was particularly moving with his performance of “Being Alive” and “Not a Day Goes By.” The tour-de-force was Regan’s homage to George Rose doing Gilbert and Sullivan’s “I Am the Very Model of a Modern Major General.”

Mr. Regan was only at Feinstein’s for a one evening showcase, but based on the audience reaction, I think that we will see more of him.

Ron Forman
“Sweet Sounds” on WKRB 90.3
October 4, 2011

Davenport’s Piano Bar and Cabaret, September 24 & 25, 2011

That Dean Regan is a bundle of enormous musical theater talent is undisputable. His voice is a wondrous instrument of shading, power and volume. His presentation of Give My Regards to Broadway is very theatrical: Regan stomps feet, mugs and feigns reluctance to perform the speeded-up version of “I Am the Very Model of a Modern Major General.” Physically and vocally, he is so strong that virtually every song seems like an eleven o’clock number. The problem is that, for the cozy little Sunday night crowd at Davenport’s, all that volume was, well, overwhelming. The sometimes ear-splitting loudness generally does not work in a small cabaret room. In “This Nearly Was Mine,” Regan begins with simple quiet reflection and it is welcome in the show. Of course, he gave us impressive money notes as the song progressed. However, what is fascinating in all this is that when he just talks with the audience, his stories are open-hearted and real. He tells of being mentored by high school teacher Mrs. Matthews and her husband and being introduced to Broadway musicals by them. We relate to his discovery and wonder. At the end of the show, he expresses the wish that each of us find our Mrs. Matthews to help us uncover and travel along our journey. Ultimately, and in ways different from musical theater, cabaret is less about candy for the ear and more about candy for the heart.

Carla Gordon
Cabaret Scenes
September 25, 2011

Metropolitan Room, New York, NY, March 2011

Dean Regan lived in Los Angeles for some years and pursued an acting career following a stint on Broadway. Thirty years after his cabaret debut in New York, he’s returned to New York, his sense of wonder remains wonderfully intact. He has a likable presence and a magnetic smile that engaged the audience immediately. The theme was mirrored in its title, the singer coming back to where it all started and clearly enjoying every minute of it.

Regan is a skillful storyteller who expresses his love of the theater with style, showmanship and pizzazz. Songwriters Gilbert & Sullivan, Rodgers & Hammerstein, Kander & Ebb, Stephen Sondheim and Stephen Schwartz were among those represented. Frank Loesser’s “Luck Be a Lady,” performed in a quick Latin beat, and Sondheim’s “Being Alive” were positively exciting. “Not a Day Goes By,” a gem from Merrily We Roll Along, was sung with a plaintive urgency.

Using his acting skills and a talent for mimicry, Regan presented every number as if it were a show within itself. One of several standouts, “I Am the Very Model of a Modern Major General,” (HMS Pinafore), was hilariously performed at turbo speed followed by a 60-second encore. Regan dazzled with two stellar songs from Wicked, “Defying Gravity” and “For Good,” conveying poignant feelings of friends: “people come into our lives for a reason…because I knew you, I have been changed for good.”

Regan’s musicians were all excellent: Nick Fryman, his Musical Director since 1996; Donna Kelly on drums; and Tom Hubbard on bass. Recounting his musical theater awakening, Dean Regan said that under the “ghostlight” of the Imperial Theatre stage he found his “Broadway voice” feeling felt “electric sparks.” Now he can’t imagine anything more exciting than the twinkle in someone’s smile whenever his music sparks delight.

Jerry Osterberg
Cabaret Scenes
March 27, 2011

Cabaret Scenes Review, December 2009

Dean Regan (“Give My Regards to Broadway”) is a “Method” singer: his concentration is intense and he is an actor drawing from deep inside himself, with each song he does in this show. His voice is surprisingly supple: at full voice, big enough to raise the rafters in, say, the St. James Theatre in New York without a microphone. It can also be so quiet you can sometimes barely hear it with a mic. It has lovely range, with a falsetto that blends into his baritone as one. And he used it all, plus enough physical energy for a couple more guys. He is a theater man. And he told us about it: about being taken to New York, as a teenager, to see his first Broadway musical and getting a backstage tour thrown in for good measure. And, of course, he was hooked. After university (UCLA) and a national tour with Pirates of Penzance, he made it to Broadway with a dressing room window that overlooked the
Great White Way itself.

His program was made up of songs from “Old Devil Moon” to “Paper Moon,” from the Ray Bolger-associated “Once In Love with Amy” – with audience sing-along – to “Ya Got Trouble,” made famous by Robert Preston, with stops for a medley from Man of La Mancha (where he used the microphone stand as his pike) to another medley from Cabaret. I have only seen one other cabaret performer (Nancy Dussault) who could, without props, physically change him/herself into a character. As he introduced Man of La Mancha, he, holding on to the mic stand with one hand, slowly aged, shriveled and twisted into the knight. As he told us about playing The Emcee in Cabaret, he suddenly became the character. And then reveled in it. In the medley was a lovely “Maybe This Time.” He did a touching “Being Alive” (Bobby’s song from Company, another part he has played) and so it went, finally closing with “Defying Gravity” from Wicked. His printed material suggests he can sing anything from opera to Broadway to big band to doo-wop. I believe it!

Jack Moore
Cabaret Scenes, December 6, 2009

Dean Regan at the Carpenter Center, 2008

Last Sunday I had the pleasure of witnessing one of the most enjoyable shows, DEAN REGAN and “The Corner of Main Street & Broadway”. Dean can be described as charming; dashing; funny; and animated – with a rich voice, amazing phrasing , and blue eyes they could see from the back row of the Carpenter Performing Arts Center. This was my first outing at this incredible 1074 seat theater and it was wonderful to see it at least 90% full for a Sunday matinee with everyone pinching their pennies these days. That alone is testament to Dean’s popularity and talent.

With no sets to speak of, Dean wore a tuxedo and made multiple changes of jackets taken from a coat rack next to a small table and chairs which became his home base for several of his very engaging stories of show business and life itself.

I would love to tell you everything Dean included in his show but it would be easier to tell you what he didn’t! Dean’s variety was endless – giving us a great blend of OLDIES, a little BIG BAND SWING, even a BEATLES medley. But he really shined during his BROADWAY moments in which he completely takes on the character he is singing. This was especially effective during his MAN OF LA MANCHA medley, and during OUT THERE from Disney’s HUNCHBACK OF NOTRE DAME when he climbed up and stood on top of a black stool as if he were high in his tower looking at a world he has only dreamed of – bringing me and probably half the house to tears.
There were moments too, when I got glimpses of James Cagney in Yankee Doodle Dandy from the way Dean moves, lots of kicks, lots of spins, and kind of lighter than air. He not only used every inch of the stage, he took it all the way into the audience during several numbers, over seats, up and down aisles, and flirting shamelessly.

From his OLD DEVIL MOON opener to his closer of DEFYING GRAVITY from Wicked, he held everyone’s attention and commanded the stage. I especially loved how he took his final bow (with a standing ovation) and then returned to take an encore singing FOR GOOD, also from Wicked, and then reprised DEFYING GRAVITY – once again to a well deserved second standing ovation.
Thanks Dean for a most memorable experience.

Les Michaels
“Life Is A Cabaret” Newsletter
November 3, 2008

Click Here

[Dean Regan’s] voice is a wondrous instrument of shading, power and volume.
C. Gordon, Cabaret Scenes
Click Here to read full review.

Read More Raves
Find Out

Join Email List

Sign up for Dean's email newsletter