I hadn't revisited this topic for a few days, and I see that it has morphed into a topic about the benefits of new choreography. While I agree with the idea that new choreography is important to the company, sometimes it turns into pandering to new audiences (see Ocean's Kingdom, Bal de Couture) with works that are trash just to have a celebrity name attached to the pursuit (Valentino, Paul McCartney, Stella McCartney). Also, I think the Diamond Project put too much focus on churning out massive numbers of new works without keeping an eye on quality ("Call Me Ben").
I suspect that at least some of this is pandering to gala donors rather than new audiences. For all kinds of reasons, it's easier to sell gala tables if you've got a marquee name somewhere on the program. That name could be a gala honoree or it could be someone who made some sort of artistic contribution to a gala premiere. Paul McCartney and Valentino are even older than me -- do their names register in any meaningful way with the younger members of the new audience pool? But there's a whole network of folks around Valentino (and Stella McCartney) who will likely show up at that gala and with whom one might want to rub elbows by buying a few seats at a table. It's venal, but 'twere ever thus.
I hope someone is doing a cost / benefit analysis of these "please pull out your rolodexes and fill a table" pièces d'occasion that live for a season and then vanish -- and that analysis had better include the opportunity cost of expending blood and treasure on a gala bauble instead of a worthy permanent addition to the repertory. I sure hope no one was expecting Ocean's Kingdom or Bal de Couture to be the Balanchine / Prokofiev / Rouault Prodigal Son des nos jours ...
Lil Buck, Woodkind, JR, and Faile are in a different category, but other than Promenade installations, the company hasn't quite sorted out how to make use of their talents in a way that generates art in addition to buzz.