I realize that seeing the ballet is not your typical guy's activity. But being a fan of Joni Mitchell and dating someone who used to be a ballet dancer gave me an impetus to see it for the first time, at The Fiddle and the Drum.

I was not quite sure what to expect from the ballet. I had this vision in my head of a fairly simple production, minimal sets and maybe three or four dancers on stage at a time. From the beginning of the opening number my expectations were far surpassed.

Many would think of the ballet as slow and boring but artistic director Jean Grand-Maitre brought a creative, unique style to this contemporary ballet. The large stage at TCU Place was packed with dancers, creating an amazing visual tapestry.

The set was pared down but this was actually a positive thing because it helped me focus on the dancing. The pieces featuring fewer dancers were good but I really enjoyed the large productions. It was impressive to see that many people moving as an organic whole.

For guys with hang ups about the human body the ballet could be a challenging experience. It's all on display here - thighs, butts and bulge. The tights did not leave much to the imagination and men danced as freely with other men as with women - a break from traditional gender roles that distinguishes The Fiddle and the Drum from other ballet productions.

Hopefully guys won't let their judgement prevent them from enjoying this amazing display of athletic grace.

Ballet is clearly an intersection of athleticism and art. The women danced fluidly on pointed shoes, effortlessly raising their legs to their head. The dancers displayed incredible strength and flexibility and the moves were executed with poise, control and strength.

To me, dancing was always just a way to connect with music I liked, whether in a bar, at a party or just at home in my underwear. Here, dancing is narrative. It gives a visual form to Mitchell's lyrics.

The theme of the production was overtly political - featuring Mitchell's signature luddite style. The audience was continually reminded of the corrosive nature of modern life - television, global capitalism, war, deterioration of the environment, celebrity culture and the commodification of sex are all up for criticism.

If you do not agree with Mitchell's outspoken politics, the ballet may come across as preachy but for me, it's better than the alternative. I'd rather see dancers using their craft to express a political message than to give form to a love story, like the The Nutcracker (sorry Tchaikovsky).

The hippy peace message was to be expected from Mitchell and, unlike my female contemporaries, I actually enjoyed the use of Clara Stripe, the little girl, to represent innocence and hope. It may have been a little cheesy but certainly not the cheesiest element of the production. Being in a large production like The Fiddle and the Drum could be one of those life-changing experiences that leads Stripe to a career in the arts - a rewarding path, in my opinion. The thrill of being on stage with some real professionals is a necessary draw in an industry that continues on the basis of mentorship.

The biggest problem I have with the production is that Mitchell recorded half the songs featured in the production in the 1980s, giving them that cheesy drum machine sound. I can easily accept the artistic merits of men dancing together sensually, but '80s electronic drums are simply offensive to my tastes.

Overall, the ballet was quite an eyeopener. The production was visually stunning and Mitchell and Grand- Maitre did a nice job of putting a fresh spin on a long-running art form. I come out of my first ballet experience with a newfound appreciation for the athleticism of ballet dancers. I would see the ballet again, especially if it promised to be as innovative as The Fiddle and the Drum.