When Genevieve Waldorf was a senior in high school, she felt conflicted about what to do next. “You’re on this cusp of deciding your future,” remembers the Pacific Northwest Ballet corps dancer. “I knew I wanted to go to college—it was really important for me to receive higher education and earn a degree. But I also wanted to pursue a career in professional dance.” Rather than choose just one path, Waldorf made the then-unconventional decision not to decide.

Training and performing on pointe are now more widely available to all genders, in both major companies and freelance projects. The result is an expansion­ of the creative possibilities in ballet—and, for nonbinary dancers Maxfield Haynes, Zsilas Michael Hughes, and Leroy Mokgatle, a sense of fulfillment that is as personal as it is artistic.

An American company crossing the pond for the first time, festivals centering Asian dancemakers, premieres responding to colonization, transgender identity, audience relationships, and more—the performance landscape over the next two months is overflowing with possibility. Here’s what’s at the top of our lists.

Whether she’s in the studio—fearlessly flexible in a grand jété with her arms playfully thrown back—or onstage—fast and precise in her first lead role as The Nutcracker’s Lead Marzipan—Pacific Northwest Ballet corps dancer Destiny Wimpye glows. In Kiyon Ross’ new …throes of increasing wonder last season, she skittered across the floor, devouring the space. But more than dazzling leaps and quadruple pirouettes, it’s in her smaller movements, beautifully turned out, arms poised yet wondrously alive, that Wimpye shines onstage, exuding strength but also vulnerability.

Pacific Northwest Ballet goes through roughly 2,000 pairs of pointe shoes per year. New York City Ballet uses 500 pairs per month during Nutcracker season. Some pros exhaust multiple pairs of shoes in a single performance day. Stats like those raise a big question: After the shanks have collapsed and the boxes have turned to mush, where do all the dead pointe shoes go?

Last summer, you had an amazing training experience at your dream intensive. You can see yourself studying at that school full-time—or even dancing with its affiliated company one day. Does that mean you should return to the same program this summer?

Electric performances, thought-provoking choreography, buzzy bodies of work—the artists on our annual list of dancers, choreographers, directors, and companies poised for a breakout share an uncanny knack for arresting attention. They’ve been turning heads while turning what’s expected—in a performance, from a career trajectory—on its head. We’re betting we’ll be seeing a lot more of them this year, and for many years to come.

This May, he published his memoir, Illusions of Camelot, with Beaufort Books. It contains a series of reflections on his childhood and adolescence in the wealthy town of Bedford, New York, and then, later, in New York City. Financially and socially, his was a comfortable childhood. But that idyll—the Camelot of the title—concealed a deep vein of turmoil. That contrast between appearance and experience is one of the main themes of his book.