Miami Herald via Palm Beach Post
She also learned that she needed to be around dancers and not in an office. That led to her greatest leap of faith, launching Morphoses with Christopher Wheeldon, in 2007. Wheeldon was then ballet’s most celebrated choreographer, and the new troupe was greeted with much excitement. But fundraising and organizational problems led to his departure in 2010. Lopez continues to head a reduced version of Morphoses, turning it into an experimental, project-based company that does one multimedia work a year.
She continued out of what she calls a combination of stubbornness and belief in dance. “Nothing about the arts is easy,” she says. “If those of us who care so much are not willing to go the extra mile, how can we ask people to give us money?” She has persuaded the boards of MCB and Morphoses to let her explore a partnership between the two organizations, with Morphoses possibly serving as a choreographic incubator for the Miami company.
Miami New Times
Lopez looks to technology to bring what dancers do to places people are already gathered. Live-streaming rehearsal footage to a park, a bar, or a pool patio, for instance, could introduce ballet, which has historically and problematically been seen as an elitist art form, to many potential new audience members. "I want to reach out to the community. I want everybody to come to Miami City Ballet. I'm not just targeting and it's not about identifying. It's about being inclusive of everybody," she says, acknowledging that several people have asked her how she intends to reach out to Miami's Cuban population.