Dickens & Rumi

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The Royal Ballet

Kathrine Sorley Walker; Katherine Walker; Sarah Woodcock · 1981

Explore the age guidance, content cautions, positive qualities, and supporting notes for The Royal Ballet by Kathrine Sorley Walker; Katherine Walker; Sarah Woodcock. This book is content notes include Death of a character, Products & advertising, Romance; positive qualities include Creativity & curiosity, Educational value.

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At a glance

Recommended ageNot listed

Strongest cautions

  • Death of a character1/5
  • Products & advertising1/5
  • Romance1/5

Strongest positives

  • Creativity & curiosity5/5
  • Educational value4/5
  • Good role models3/5

What’s in it?

Products & advertising1/5
Why this rating?

The book is a history and does not promote products.

Death of a character1/5
Why this rating?

Death is not a focus of the work.

Romance1/5
Why this rating?

Romance is not a focus of this work.

What’s good in it?

Courage & resilience2/5
Why this rating?

Reflects the artistic courage required to build a company.

Creativity & curiosity5/5
Why this rating?

Documents the high levels of creativity involved in choreography and performance.

Diverse representation1/5
Why this rating?

The book includes some international dancers, but its focus remains largely on the British ballet institution and canon.

Educational value4/5
Why this rating?

Highly educational regarding dance history, choreography, and arts administration.

Positive messages2/5
Why this rating?

Focuses on discipline, artistic dedication, and institutional legacy.

Good role models3/5
Why this rating?

Provides biographies of dedicated, disciplined artists and founders.

Family discussion

Talk about it

Conversation starters based on this title’s published content notes.

  1. What was the most imaginative idea in the story, and what would you add to it?
  2. How did the story approach death or loss? What helped the characters cope?
  3. Which choice in The Royal Ballet would you have made differently, and why?
  4. Who changed the most in The Royal Ballet, and what caused that change?
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