Vocalist, graphic designer and Editor-in-Chief of Cabaret Scenes, Frank Dain, who’s just released a new album, I’ve Had a Love, dedicated to Bill Sensenbrenner (1954-2021), has a long resume of achievement. As a singer, that includes appearing at a plethora of venues around town. He’s also 
appeared as a guest singer for a number of cabaret artists and been a part of numerous benefits and was MAC Award nominated for Male Vocalist for his Johnny Mathis show. Starting out in his career, Dain was also an actor, performing in regional theaters across the country and in NYC Off Broadway. And then there is Frank Dain the graphic designer, who since 1999 has provided artwork for CDs, logos, postcards, posters, ads, programs and business cards for cabaret performers, Off-Broadway productions and for the MAC and Bistro Awards. Adding to his resume, since the fall of 2003, Dain has been the Editor-in-Chief of Cabaret Scenes and was named Best Editor-in-Chief of a Cabaret Publication by the Federation of American Musicians, Singers and Performing Artists in its Who’s Who in Jazz, Cabaret, Music and Entertainment. But wait! There’s more! Go to FrankDain.com to read the commodious full story.
On May 7 and 29 at 7 PM at Don’t Tell Mama, 
Dain will perform an album(s) release concert, with Kathleen Landis Music Director at the piano, in association with Kurt Peterson, plus guitarist Peter Calo and bassist Boots Maleson. There’s a $20 cover; $20 minimum (must include two drink) Cash only. Tickets here.
NiteLife Exchange (NLE) asks Frank Dain (FD) Six Questions
NLE: Your first album, I Thought About You, was released in 2001; I’ve Had a Love was inspired by the passing of your husband, Bill Sensenbrenner, with whom you shared 33 years—deeply motivating, but had you thought of another album in that space of time between recordings?
FD: I had always wanted to follow up the 2001 album with another. I never thought it would take 24 years! I love being in the recording studio, even more than I love performing live. I also took time away from live performing, and didn’t mount a show until 2012 when Kathleen (Landis) and I, along with my director Lennie Watts, did a tribute show to Johnny Mathis, my favorite male singer. During that time away, Bill and I had decided we wanted to travel and didn’t want to wait until we retired. That’s where we put our resources. I don’t regret making 
that choice, and now I’m happy we traveled when we could. There are no guarantees; don’t put off what you want to do.
The new album happened because Kurt Peterson, my dear friend who also happens to be my voice teacher, asked me what I wanted to do creatively. This was a few months after Bill had passed. I knew I didn’t want to do a show, but I did want to make another record. That’s how it began. What’s interesting is that, just recently, I realized there have been times in my life when a question changed the path I was on. This was one of those times.
NLE: There’s a logic to the sequence of songs on the album. Can you explain what the inception of that idea was and how you chose the numbers you eventually sang?
FD: When I decided to do another recording, I started by looking at some of the songs I had performed live but had not recorded. I also had songs on my list that I had wanted to perform but never found the right show for them. I discussed these with Kathleen Landis—my music director, arranger and co-producer, and with Kurt. Also onboard was associate producer Claire-Frances Sullivan. At first, I worked on the songs separately with Kathleen, to find the right keys and talk about the orchestrations, and with Kurt to work on my vocal approach. It wasn’t until we had chosen the final list of songs that we realized that if they were placed in the correct order, they would tell a story. 
We hadn’t set out to do that; that was pure kismet. But Kurt was the first to make the connection between the songs and Bill and me. He’d say, “You do know this is all about Bill, don’t you?” Maybe somewhere deep down I knew that, but my goal was to find songs that spoke to me, that told a story I could relate to and express. But I do accept that I was being guided all along to honor Bill’s memory.
NLE: You served as a board member of MAC (Manhattan Association of Cabarets) for eight years, and you’ve been the Editor in Chief of Cabaret Scenes since 2003. What have these experiences taught you about the art form of cabaret, such as the trajectory of its history and the future of cabaret?
FD: I haven’t so much as learned this, but it’s been reinforced: cabaret is a unique art form that is open to anyone with something to say, with a point of view. It’s no secret I’m most comfortable with the material from the Great American Songbook, and I think many people think of that material when they think of cabaret. But cabaret allows for all kinds of material and all kinds of performers, no matter their ages. The best cabaret performer is one who is without artifice. In the confines of a cabaret room you can instantly spot a phony. I think cabaret performers are the most vulnerable people in the world of entertainment. What other art form allows a person to be themselves, to be open and honest, without fear?
As for cabaret’s future, well, as long as I’ve been involved in cabaret, the naysayers have been ringing its death knell. I don’t think cabaret is going anywhere. There are new performers, young and not so young, on cabaret stages all over the 
country, bringing new ideas of what can be done on these small stages. That’s the great thing about cabaret: there’s no age limit. You can be a newcomer at 65! Thanks to Lennie Watts, I’ve been fortunate to be one of the permanent judges for Don’t Tell Mama’s talent contest Mama’s Next BIG Act! since it began in 2015, and I have witnessed fascinating performers who approach cabaret on their own terms. The finalists and winners of the contest through the years could not be a more diverse group in age, style and material. That tells me cabaret will be around as long as there are performers who have something to say in a way only they can say it.
NLE: What’s your advice to young performers starting out? What are the challenges on the road to success? Is there a steady way to move ahead, hurdles to jump over, tricks of the trade to master?
FD: Be yourself, have a point of view, find material that works for you and that you can make your own. And, most important, keep at it! It takes a while to build an audience. Take advantage of any opportunities to perform to refine your talent in front of an audience. See as many other performers as you can. You’ll see what works and, more important, what doesn’t. Cabaret is also the place where you can work as a performer because you are producing it yourself. You aren’t relying on someone else to give you a job.
NLE: You started out as an actor, appearing in regional theater and Off Broadway in NYC. How did you come to move from that career track to the one that led to cabaret and Cabaret Scenes, not to mention your work as a graphic designer?
FD: During a lesson with my third voice teacher sometime in 1980 or ’81, she asked me what I wanted to do with my singing. I had moved to New York to do theater, to be a chorus boy. She knew that, but something had made her ask the question. Without hesitation I said, “I’d like to put together a bunch of songs and do a show.” She said, “That’s it! I’ve been trying to make you sound like a chorus boy, but you don’t have that kind of voice. Now I know what to do.” (There it was again, a question that changed my path.) That was how I stepped on a cabaret stage for the first time. I did my first cabaret show at Jason’s Park Royale in the fall of 1982. As much as I loved doing theater, I found a freedom in cabaret. I could sing whatever I liked, however I wanted to. I wasn’t heavily involved with cabaret at that time; I’d do a show once a year. Then I started building more shows and got the chance to perform at Steve McGraw’s (now The Triad), Danny’s Skylight Room, and Don’t Tell Mama.
I quit a day job I had had for 16 years and started my design business. (I had been an art major in college prior to switching to theater.) I continued to do cabaret shows and then I recorded my first album. A few months after it was released, Darrell Henline (original editor and publisher of Cabaret Scenes) called and asked me if I’d be interested in becoming his assistant. (And yet again, a question that changed my path.) I was still building my design business and doing freelance jobs here and there and could use the income, so I said yes. I started at Cabaret Scenes in February 2002. About a year later, Darrell was diagnosed with pancreatic cancer and passed away in September 2003. His life partner, Keith Meritz, became publisher, I became editor, and now it’s 22 years later. Working at the magazine helped me become a part of and known in the cabaret world. It’s led to friendships I cherish.
NLE: You’re about to return to the stage after a long hiatus with release concerts of I’ve Had a Love. What preparations are you making for these, both vocally and emotionally?
FD: I hadn’t planned on doing a show. I thought I’d throw a party where I’d sing a few songs from the album. I want the album to stand on its own. I couldn’t replicate what we did in the recording studio. But Kathleen said I should take advantage of the release of the album and do a show. Kurt seconded that. But I didn’t want to do the entire album, again 
because we couldn’t replicate what we had done in the studio. Then I remembered that I had not done a release show for my first album and thought why not celebrate both! I decided to build the show with songs from both albums and call it A Celebration: 24 years in the making! This also gives me he opportunity to honor the great work Rick Jensen did on the arrangements on the first album. Kathleen, Kurt, his assistant Claire-Frances Sullivan, and I are deciding which songs to include. I’ve asked Boots Maleson to play bass and Peter Calo to play guitar. Of course, Kathleen is at the piano. Lennie Watts will direct. We have two dates, May 7 and 29, at 7 pm at Don’t Tell Mama.
As for emotional preparations, well, how do you really prepare for that! I’m not going to check my emotions at the door to Don’t Tell Mama or any other room. I will rehearse so that I’m as prepared as possible, but then I have to let that go and be in the moment once I’m on stage, and let the emotions be what they will be.
Photo credits: Portrait top and album cover by Bill Westmoreland; with Kathleen Landis by Rose Billings; with Kurt Peterson; with Bill Sessenbrenner and Marilyn Maye; Weill stagge at Carnegie Hall by Seth Cashman; on stage by Stephen Sorokoff; 2001 album
