Bond University alumna and physiotherapist Renee Meffan travelled the world with The Walt Disney Company before returning home to launch her performing arts physiotherapy clinic. She now supports Queensland Ballet’s elite athletes and runs workshops with Gold Coast dance studios. Renee believes health education and research will improve the performing world by leaps, bounds and pirouettes.
Renee was just a teenager when she realised a gap in specialised physiotherapy knowledge was letting dancers down. As a dancer and cheerleader, she sought physiotherapy for injury prevention and management but couldn’t find a physiotherapist knowledgeable about her sport.
“When I was using dance terminology to describe an experience of pain or discomfort, I didn’t have a physiotherapist who had a comprehensive understanding of what was happening with my body,” says Renee.
“There were a lot of physiotherapists specialising in sports like soccer, AFL and NRL.
“I realised how valuable it would be for dancers like me to have better access to specialist dance physiotherapists.”
She gained a Doctorate of Physiotherapy at Bond University to fill that gap. It was the beginning of a vibrant and fulfilling career that would see her working on major productions with The Walt Disney Company and Queensland Ballet.
Renee was just a teenager when she realised a gap in specialised physiotherapy knowledge was letting dancers down. As a dancer and cheerleader, she sought physiotherapy for injury prevention and management but couldn’t find a physiotherapist knowledgeable about her sport.
“When I was using dance terminology to describe an experience of pain or discomfort, I didn’t have a physiotherapist who had a comprehensive understanding of what was happening with my body,” says Renee.
“There were a lot of physiotherapists specialising in sports like soccer, AFL and NRL.
“I realised how valuable it would be for dancers like me to have better access to specialist dance physiotherapists.”
She gained a Doctorate of Physiotherapy at Bond University to fill that gap. It was the beginning of a vibrant and fulfilling career that would see her working on major productions with The Walt Disney Company and Queensland Ballet.
On the world stage
After graduating, Renee moved to Melbourne to be closer to the performing arts industry she loved. She began in a busy sports physiotherapy clinic, where she gained manual therapy experience in manual therapy and communication skills needed when working with the dynamics of sporting clubs and teams.
Renee jumped at an opportunity to work in performing arts theatres in Melbourne and began building a network in the industry. She gained experience touring and working with talented performers during large theatre productions.
“I enjoyed being part of the backstage crew and loved the alternative style of running a treatment clinic out of a dressing room,” she says.
“I never imagined I would get the opportunity to tour as a physiotherapist in Australia.”
Renee had been out of university for just four years when she was recommended for a physiotherapist position with The Walt Disney Company for The Lion King stage musical in Sydney. It was a dream role for Renee, who cancelled travel plans, packed up her life, and moved to Sydney.
“It was exciting but also a bit nerve-wracking,” she says.
“I was going to be the only physiotherapist in the building with limited years of experience behind me. I knew there would be a lot of clinical decision-making to carry but I also felt like I was already hitting the peak of my career.”
Renee took the nine-month contract and ended up touring with The Walt Disney Company for seven years in Australia and overseas.
A need for knowledge
The dancers Renee worked with placed great pressure on themselves and became frustrated when they were injured. Renee realised a need for education and instilling a holistic approach to performance.
“A big part of being a physiotherapist is teaching people about their body, and that their body is never working against them, it always tries to help,” she says.
“The body will respond to an injury or mechanical dysfunction by finding the easiest way to operate. If a performer is injured, rather than being upset that they cannot function optimally, I want them to understand that they need to nurture the body rather than work against it. That allows us to work together and support the performer before they start loading up again for a show.”
Renee dedicated herself to helping patients better understand their mental wellbeing and nutrition — even their menstrual cycle — so they could improve their personal health and career longevity.
“Just before a period, you get a fluctuation in estrogen levels, your body temperature rises, and you fatigue quicker,” she says.
“I tell dancers, if they’re feeling low in energy and they’re approaching their period, take it easy with big movements such as grande allegro in ballet, and to be aware they could risk an injury if they’re doing anything too intense in rehearsal when they don't feel at full capacity.
"The focus should be on hydration, proper recovery, and adjusting intensity."
More research is emerging on the phases of the menstrual cycle and their impact on the risk of injuries among athletes.
“There’s a lot in the works in that space and I enjoy watching the shift happen, implementing the latest findings through my work, and seeing the positive impact for dancers.”
A need for knowledge
The dancers Renee worked with placed great pressure on themselves and became frustrated when they were injured. Renee realised a need for education and instilling a holistic approach to performance.
“A big part of being a physiotherapist is teaching people about their body, and that their body is never working against them, it always tries to help,” she says.
“The body will respond to an injury or mechanical dysfunction by finding the easiest way to operate. If a performer is injured, rather than being upset that they cannot function optimally, I want them to understand that they need to nurture the body rather than work against it. That allows us to work together and support the performer before they start loading up again for a show.”
Renee dedicated herself to helping patients better understand their mental wellbeing and nutrition — even their menstrual cycle — so they could improve their personal health and career longevity.
“Just before a period, you get a fluctuation in estrogen levels, your body temperature rises, and you fatigue quicker,” she says.
“I tell dancers, if they’re feeling low in energy and they’re approaching their period, take it easy with big movements such as grande allegro in ballet, and to be aware they could risk an injury if they’re doing anything too intense in rehearsal when they don't feel at full capacity.
"The focus should be on hydration, proper recovery, and adjusting intensity."
More research is emerging on the phases of the menstrual cycle and their impact on the risk of injuries among athletes.
“There’s a lot in the works in that space and I enjoy watching the shift happen, implementing the latest findings through my work, and seeing the positive impact for dancers.”
A pointe of difference
Renee made it her mission to educate and empower every dancer she consulted with and, upon returning to Australia during the COVID pandemic, launched her own clinic in Nerang.
She believes the performing arts industry will see great improvements as specialised physiotherapy grows more accessible.
“For a long time, dancers have been treated as only artists, but they’re also athletes,” she says. “Their loads are big. Sometimes they’re doing eight shows a week in front of thousands of people, so they need to be at their peak at all times.
“The athletic performance load of dancers and their injuries need to be taken seriously.”
Renee alternates her clinic days with a part-time role at the Queensland Ballet, where she works alongside psychologists, sports doctors, dietitians, podiatrists, strength and conditioning coaches, and Pilates instructors.
“Working in that inter-disciplinary team motivates me to keep learning. We get to share ideas and knowledge, where staying at the forefront of the industry ensures I keep my skills up-to-date,” she says.
“There are new developments in education around dance health and it’s heartening to watch our performers get in tune with what is best for their bodies.”
Renee says one recent change in dance culture is a shift towards increased strength work, where previously there was a perception that dancers would appear too bulky if they lifted weights.
“We’re seeing that some of the strongest dancers are also the most flexible and that’s really cool,” she says.
A pointe of difference
Renee made it her mission to educate and empower every dancer she consulted with and, upon returning to Australia during the COVID pandemic, launched her own clinic in Nerang.
She believes the performing arts industry will see great improvements as specialised physiotherapy grows more accessible.
“For a long time, dancers have been treated as only artists, but they’re also athletes,” she says. “Their loads are big. Sometimes they’re doing eight shows a week in front of thousands of people, so they need to be at their peak at all times.
“The athletic performance load of dancers and their injuries need to be taken seriously.”
Renee alternates her clinic days with a part-time role at the Queensland Ballet, where she works alongside psychologists, sports doctors, dietitians, podiatrists, strength and conditioning coaches, and Pilates instructors.
“Working in that inter-disciplinary team motivates me to keep learning. We get to share ideas and knowledge, where staying at the forefront of the industry ensures I keep my skills up-to-date,” she says.
“There are new developments in education around dance health and it’s heartening to watch our performers get in tune with what is best for their bodies.”
Renee says one recent change in dance culture is a shift towards increased strength work, where previously there was a perception that dancers would appear too bulky if they lifted weights.
“We’re seeing that some of the strongest dancers are also the most flexible and that’s really cool,” she says.
Lifelong learning
Renee says her time at Bond gave her great insight into the real world of physiotherapy and the prospects of running a business.
“A big thing for me was that lots of our teachers were clinicians themselves and had owned practices. I enjoyed learning from their hands-on experience,” she says.
“One of my favourite aspects of Bond was learning in small class sizes, especially when we were doing practical sessions where we would have a couple of teachers per class.
“We got a lot of one-on-one help.”
Renee’s time as a physiotherapy student started her lifelong dedication to improving performers’ lives.
“I love seeing people get back on stage after an injury and teaching them how to train safely and manage their load to return to dance. Keeping a dancer onstage at any capacity is much healthier than being at home and becoming isolated from their peers and from doing what they love,” she says.
“What drives me is being able to support dancers when they’re down.”
Published on Wednesday, 12 March, 2025.
“What drives me is being able to support dancers when they’re down.”
Published on Wednesday, 12 March, 2025.
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