Azlan<P>I completely agree, but theirs is a double edged sword.<P>As mentioned in another thread, it is the vast differences in qualifications and knowledge of critics that are so bothersome. This is not a criticism of Alexandra, but she is a prime example of someone who has set criteria for reviewing. As mentioned on BA, she would not give as much space to a Diablo Ballet, regardless of the performance, b/c in her opinion, they haven't earned it over time. I have no problem with the thinking, but the general public has no clue about these critieria and might be mislead that a bad ABT touring group (and I'm sure we have all seen a show or two that looked like nothing more than a money making venture or an inconvenient prior obligation) is more valuable to the public than a killer performance by a smaller, younger company.<P>This is my frustration with "good" critics. They often times write for a select, high brow audience and dance should not be limited to an "inside joke."<P>On the other end of the spectrum are the idiots. Good or bad reviews are equally annoying. " liked it! They jumped high!" Somewhere in the middle (elevated
) is necessary for serious dance enthusiasts and regular joes.<P>Regarding reviews helping audience attendence, we feel here that even a luke warm review will help as it gets you into the minds and on the radar screen of potential ticket buyers. No empirical data, though.