Musculoskeletal
Kelvin C. Nwanze, MD
Medical Student
American University of Antigua College of Medicine
LAWRENCEVILLE, Georgia, United States
Puja Desai, DO
Medical Resident
Mercy Catholic Medical Center
Troy, Michigan, United States
Niña Carmela R. Tamayo, DO, MS, MPH
Founder/Physiatrist
Prime Directives PM&R, LLC
Lakewood, Ohio, United States
Kelvin C. Nwanze, BS
American University of Antigua College of Medicine
LAWRENCEVILLE, Georgia, United States
In the world of performing arts, lower extremity injuries are well documented in performers, but comparatively, cervical spine pathology remains underrecognized. Broadway performers represent a unique population exposed to occupational risks distinct from typical athletes or industrial workers. This study aims to analyze cervical spine injury patterns in Broadway performers, with particular focus on mechanisms of injury and contributing occupational factors.
Design: We retrospectively reviewed Workman’s Compensation cases treated at a private performing arts therapy clinic on Broadway between 2021–2024. Cases from both current and active Broadway and Off-Broadway productions, including those running for longer than six months, were included. Active and closed Workman’s Compensation cases opened on or before October 16th, 2024 were analyzed. Diagnoses and mechanisms of injury were categorized, and themes were synthesized to identify risk factors.
Results:
A total of 6 cervical spine cases were diagnosed across 3 of the 7 Broadway productions reviewed. The cervical spine conditions observed included radiculopathy (33.3%), degenerative changes(16.7%), nonspecific cervical pain (16.7%), and muscular strain (33.3%). The most frequent mechanisms of injury involved repetitive overuse and strain related to choreography and costume demands (33.3% each). These mechanisms reflected both acute incidents and cumulative biomechanical stress, further influenced by posture requirements and the physical environment of live performance The cervical spine pathologies of Broadway performers help illuminate the unique occupational demands that differentiate them from typical athletes and laborers. These mechanisms: repetitive overuse, costume-related strain, and partner lift. demonstrate both acute and cumulative biomechanical stress unique to live performing settings. Going forward, physicians should consider these patterns, as they underline the need for individually tailored methods of assessment and prevention specific to performing artists. A broader study of cervical injury within this population may be warranted to improve musculoskeletal health methods universally applicable across sports, occupational, and rehabilitation medicine practice.
Conclusions:
