Issue link: https://www.massageandbodyworkdigital.com/i/68178
BROADWAY BODYWORKER Mentoring for seven years under the tutelage of orthopedic massage specialist James Waslaski, Masi put his skills to work on members of the AA Anaheim Angels baseball team and the AA Erie Otters hockey club. While teaching a class with Waslaski in 2002, an MT told Masi he was leaving his position as therapist for the Broadway show Swing. Two weeks later, and with little hesitation, Masi was on a plane to take over that role as the production's massage therapist. "I like enhancing the performance of the athlete and the dancer, as well as working in a training room atmosphere with a lot of people around," he says of the similarities in working with both athlete and dancer. "I have always been drawn to working with athletes, having been a football coach, boxing trainer, sportscaster, and an athlete myself." An advantage in working with dancers, Masi says, is being more integral in the therapeutic process—both in helping them endure their daily performance schedules and injury recovery. "There is such a mind-body connection that exists that I can almost determine if the dancer is struggling with something mentally, which nine times out of 10 results in struggling with something physically." Jerry Masi, massage therapist for Broadway performers A GYPSY LIFE From town to town and time zone to time zone, Masi lives somewhat of a gypsy life in his calling to work with these dancers. Now providing massage for the national tour of Cats as an employee of Troika Entertainment, this therapist of 11 years says the work is exciting and fulfilling, even if you don't always know where you are when you wake up each morning. The schedule is nothing short of grueling—eight shows a week, with two performances on Saturdays and Sundays. He says the one-nighters are most difficult for the cast. "We travel for 500 miles, stop at the hotel for a couple of hours, do the show, wake up sometimes at 6:00 a.m. and hit the road at 6:30 a.m." Sometimes, after crossing three time zones, the buses pull right up to the show with little time for preparation. Having worked with the national tours of Swing, Starlight Express, Joseph and the Technicolor Dream Coat, and The Lion King, Masi's own routine also has no room for languor. A daily sign-up sheet is posted on the theater call board two hours before the performance, where anyone can sign up for 15–30 minute increments. "Special attention is paid to performers who have recently been injured or have a condition that needs addressed," he says, and time is taken to tape ankles and wrists, if needed. "I usually see between 8–10 dancers before the show, then work at intermission on 3–4 dancers. I also work on the musicians and the technical crew, who also feel the physical effects of life on the road. Sometimes it looks like a MASH unit with the dancers lying on the floor—some heating, some icing, and some just relaxing in my treatment room." Despite the nomad existence he lives, Masi is enjoying a yearlong contract with the tour, which includes salary, benefits, per diem for meals, lodging and transportation provided by the entertainment company that produces the shows. Another benefit, 86 massage & bodywork september/october 2009