When Suzanne Farrell Ballet first started its operations I remember reading the gushing reviews. Those high standards are difficult to maintain for a pick-up troupe without a steady roster, and now the critical shine has worn off. Sad, but true.
Yes, Farrell has had her ups and downs as a stager. There was that near-legendary week in D.C. that left people with their tongues hanging out and for awhile she could do no wrong. Then rising expectations were not fulfilled and a critical backlash set in. I didn't think it was altogether fair - some of the problems mentioned later were already evident before the backlash - but that's life. I'm sure many of the difficulties stem from the severe constraints Farrell works under, but not all, perhaps.
Regarding these minor works, I agree with those above who say it's a question of company goals and priorities, although I'd hope no blood is shed and not too much treasure expended in the process. Given the nature of Farrell's enterprise I think it's valuable for her to present these rarities and well within her portfolio, although I sometimes wonder (and not only in Farrell's case) how much of what we're seeing is what audiences saw at the time.