I've been thinking hard about these things since one of the better choreographers to come out of Pacific Northwest Ballet is starting up a company, and saying many of the same things that Wheeldon did when he began this new enterprise. (wants to work on own interests rather than fitting commissioned works into other reps, wants to work with dancers of own choosing, wants to encourage collaboration and collegiality among artists...)
So far Olivier Wevers has succeeded: he's chosen a group of artists that he wants to work with, and the piece was a collaboration with a composer and three designers. I listened to Robert Lepage speak after "The Blue Dragon", it sounds like a similar collaborative experience, if without the time or financial backing that Lepage had. (Although Lepage's projects are often postponed as his collaborators have other contracts to fulfill.) He also took Balanchine's approach in using dancers who had other jobs to support them and working around their schedules, and he had nine dancers in "3 Seasons", the size that Lopez cited as feasible for "Morphoses", and remember reading that one of them, Hannah Lagerway, is joining a company in Europe.
He never really had his own dancers. They were always from NYCB, the Royal, SFB and ABT. He played at City Center and Sadler Wells. Building a company takes time. It takes developing dancers. Again, I hate to use Balanchine as an example, but I will. When he first started working in the U.S., he used students, he used dancers who had gigs at musicals and films. He made do with who he had when he had them. The Four Temperaments premiered at the Central High School of Needle Trades - not a grand theater. Same with Tudor and Ashton in the beginning. Or look at the New Chamber Ballet.
I would love to see Wevers take some commissions like Wheeldon has, so that his work is more widespread and better known, but he's chosen another course. Wheeldon has many choices and can write his own ticket, and it takes great focus to be committed under those circumstances.