At one of the Q&A's after PNB's closing program, the discussion was around programming, and one of the audience members asked Peter Boal if the audience had input into programming. He's far too tactful and well-brought-up to splurt and reply, "In your dreams," but the answer was "no." Then he turned to Benjamin Griffiths, the dancer speaker, and told Griffiths he would put him on the spot and asked him which five ballets he would program, including which choreographer he'd like to choreograph for the company. Griffiths' immediate response was for Alexei (Ratmansky) to create a new ballet for the company, because he had a wonderful experience with "Concerto DSCH.". So if you guys don't want his too dark/too under-decorated/too-much-Shostakovich ballets, we'd love to take those precious pieces of his schedule out here
The reason why I'd like ABT to do Ashton rep in which they'd look good and do it justice -- for "Facade" I'd look to Sarasota, for example -- is that when Ashton isn't done justice, people walk away thinking how boring/dated it is, and with his home company having left his legacy hanging over a cliff, it's in jeopardy. If ABT gets it right, then at least enough people think, "How lucky we are to have seen that!"
There's also a pervasive idea in North America that ballet goes Petipa -> Balanchine -> early Forsythe/The Next Balanchine and that because the neoclassical aerobics aesthetic went off the rails, let's just jump to modern/contemporary. The DNA that branches to Ashton, Tudor, the American-themed and Canadian-themed (a Royal Winnipeg specialty) dramatic/narrative one-acters -- the ballets that were the core of ABT's rep in the past -- is dismissed. Two of Ashton's influences were Pavlova and Volkova, which is drinking from the well of the Imperial tradition.