But as Ocean’s Kingdom joins a growing pile of choreographic train wrecks (a drab revival of Seven Deadly Sins and the vapid For the Love of Duke were last years’ attempts to bring in new audiences), it seems NYCB is more concerned with ticket sales than artistic integrity. There are certainly many composers and choreographers, young and established, who are doing exciting work, and looking for work. Why not give them, and the audience, a chance?
Oh, no—the cry is almost involuntary—not another Beatles book! What more could anyone possibly say? The lads from Liverpool have been by far the most chronicled musical entity of our time.