TAMI DAHBURA
ACTRESS-SINGER-DANCER
 
 
 
 
 
 
 

WHAT DID THE CRITICS SAY?


 

 

What am I up to these days?

I just got back from 2 weeks of rehearsals at The Kennedy Center for the First National Tour of KINKY BOOTS!  I'm playing Trish, and she's a real fun character.  Yeah - I keep pinching myself about that one.  This is my fourth National Tour, and I can't believe my blessings!  The cast is beyond amazing - so much talent and heart up on that stage.  So now we are on a 4 week hiatus before we head to Cleveland on August 19th to start up the tour again.  Part of our journey will be going to Japan for 5 weeks, Canada in the dead of winter, and back to the Bay Area in January-February!

   

 

FOLLIES IN CONCERT

Tami Dahbura delivered a couple of bright turns. As the wounded, curdled Phyllis, she carved her way through the caustic "Could I Leave You?", directed at her husband, Ben. Then, in "The Story of Lucy and Jessie," she made the song's tongue- and logic-twisting lyrics a cogent expression of envy, irony and compromise.

Steven Winn, San Francisco Chronicle

First among equals in the uniformly excellent group of the other soloists, Tami Dahbura stood out with her exquisite musical sensibility and chameloeonlike ability to shift from role to role.  I have lost count of FOLLIES productions seen and heard since the show's1971 premiere, but Dahbura's Sally -- and her "In Buddy's Eyes," the loving ballad about living lovelessly -- was the most moving of them all.  Then, when she brought the house down in "Cold I Leave You?" Dahbura was every inch of the hard-as-nails Phyllis, rather than the vulnerable Sally.  And, when she sang "The Story of Lucy and Jessie," musically and dramatically, Dahbura was completely another character again.

Janos Gereben, San Francisco Classical Voice

On the other hand, the production was able to showcase a number of excellent voices, including that of Tami Dahbura, who soloed in three number including a deastating delivery of "Could I Leave You/" Sondheims' acid-laced marriae breakup song.

Pat Craig, The Oakland Tribune

 

AN EVENING OF GERSHWIN AND SONDHEIM - Sacramento Philharmonic

The words were well taken care of by an excellent soprano, Tami Dahbura, with a full, flexible grasp of the Broadway style.

A powerful lot of the message that Sondheim tried to pack into the second (modern) act of his show about Seurat and his descendants, "Sunday in the Park with George," came through when Dahbura sang "Move On." And she and Dunford and Morgan and the orchestra made "I Got Rhythm" a rousing end for the show, which clearly delighted the crowd of nearly 1,800 again and again.

William Glackin, The Sacramento Bee

 

CAROUSEL IN CONCERT - Sacramento Philharmonic

There were fine performances all around, especially the spunky and radiant Tami Dahbura as the effervescent Carrie Pipperidge.

Edward Ortiz, The Sacramento Bee


SHOWBOAT IN CONCERT - Oakland East Bay Symphony

Soprano Tami Dahbura (Ellie), who has sung off-Broadway and in touring companies, had only one opportunity to shine, though shine she did — especially in the songbook portion of the evening (more to come on that below).

In the first half,  Dahbura’s “Why Was I Born?” and “I Won’t Dance,” ......... were major highlights.

Jason Victor Serinus, San Francisco Classical Voice

Dahbura was a tremendous singer as well as a wonderful comic performer on the torch tune, "Why Was I Born?" and then came back with a delightful and funny version of "I Won't Dance."

Pat Craig, The Oakland Tribune


GYPSY

It's the G-string divas, those grande dames of gaudy, who steal this show. Tessie (Elizabeth Palmer) the balletic butterfly, Electra (Tami Dahbura) the twinkling titillater and the inimitable Mazeppa (Melinda Moreno Miller), she of the well-placed horn, bling it on in the aforementioned "You Gotta Get a Gimmick" number. Let's just say the tassels hit the fan.

Karen D'Souza, The Mercury News