"How did we get to the point where just about every new classical dance is meaningless?" asks Laura Jacobs. "Today, premieres at the big ballet companies come dressed in the hippest costumes on the hottest bodies. They boast an haute frame of reference and wear the zeitgeist like a thong. ... Your average state-of-the-art premiere is so derivative of Forsythe, Tharp, or Martins that it feels secondhand (even when the ballets actually are by Forsythe, Tharp, or Martins, they feel secondhand). Or it tends to trade in age-old clichés."