[7] Working her way up through the company's repertory, Dabney had her breakthrough when John Taras selected her to premiere in the title role of his new version of The Firebird with costumes and sets by Geoffrey Holder.
[8] Dabney received ecstatic reviews from the three leading dance critics at The New York Times, Anna Kisselgoff, Jennifer Dunning, and Jack Anderson, for her performance.
The resulting program, Stravinsky's 'Firebird' by Dance Theatre of Harlem, featured a documentary on behind-the-scenes aspects of the production, and interviews with the creative team, followed by a live performance.
[12] Two years later, Dabney was invited to perform as the Firebird alongside DTH as part of the opening ceremony of The 1984 Summer Olympics in Los Angeles.
[4][13] Over the course of her career with DTH, Dabney was celebrated for her performances in a wide range of repertory that included: George Balanchine's Concerto Barocco,[14] The Four Temperaments,[15] and Allegro Brilliante,[16] Glenn Tetley's Voluntaries,[11] Bronislava Nijinska's Rondo Capriccioso,[17] Arthur Mitchell's Manifestations,[18] Ruth Page and Bentley Stone's Frankie and Johnny,[19] Billy Wilson's Concerto in F,[20] and Frederic Franklin's Swan Lake[21] & Creole Giselle.