So, let's look at the numbers for the San Francisco Ballet . . .
2008-09 and 2009/10 comprised/will comprise 40 works (some are repeats.) Counting up works by the artistic director/ex-Balanchine dancer (Tomasson), the in-house choreographer (Possokhov), the five greats of the 20th century (Ashton, Balanchine, Fokine, Robbins, Tudor), the suggested "spine" of the San Francisco Ballet (Morris, Forsythe) and the hoped-for-saviors in the 21st century (Ratmansky, Wheeldon), I get this breakout:
8 Tomasson (The Nutcracker
and Swan Lake
6 Balanchine (Stravinsky Violin Concerto
4 Possokhov (There may be a repeat in there)
4 Robbins (The Concert
2 Forsythe (in the middle, somewhat elevated
2 Ratmansky (Russian Seasons
1 Fokine (timed to the Ballet Russes centenary)
1 Tudor (timed to the Tudor centenary)
(Six other choreographers had one work apiece. Balanchine and Morris were the only two choreogaphers to have an entire mixed rep bill devoted to their works.)
By my count, Balanchine and Balanchine-derived (Tomasson) account for over one-third of the repertory, give or take. (I'm willing to entertain arguments about Tomasson's Swan Lake
and The Nutcracker
being Balanchine-derived.) The Forsythe/Morris duo account for one-eighth of the repertory over two seasons. Interestingly, when you add up the works based on some connection to City Ballet (Tomasson, Balanchine, Robbins, Wheeldon and Ratmansky), you get near 60%.
I will convince no one with this, I'm sure. At the end of the day, the Jim Williams character (played by Kevin Spacey) in the film version of Midnight in the Garden of Good and Evil
may have been right when he said, "Truth, like art, is in the eye of the beholder."
P.S. Actually, looking at the above list again, a more interesting question arises: Why are so few women represented as choreographers in ballet repertories?