Glyn kerslake biography books
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Assessing a 12-month course of oral alendronate for adults with avascular necrosis of the hip: MANTIS RCT with internal pilot.
Abstract
BACKGROUND
People with avascular necrosis of the hip have very limited treatment options currently available to stop the progression of this disease; this often results in the need for a hip replacement. There is some weak bevis that a class of drugs called bisphosphonates may delay the course of the disease, and this trial was commissioned and set up to provide robust bevis regarding the use of bisphosphonates in adults aged ≥ 18 years with this condition.
OBJECTIVES
The aim of the Managing Avascular Necrosis Treatments: an Interventional Study ( MANTIS ) trial was to evaluate the clinical effectiveness and cost-effectiveness of a 12-month course of alendronate in the treatment of avascular necrosis.
DESIGN
This was a 66-month, definitive, multisite, two-arm, parallel-group, placebo-controlled, double-blind, randomised controlled trial
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Unappreciated/Forgotten Phantoms?
Josefine saw him multiple times in Stockholm. In fact, she never caught an understudy there, Samuelson performed for 6 years straight, only missing some very few performances. I remember she told she was about to go one night, but changed her mind (or something), and the next she heard was that u/s Jan Kyhle had been on as the Phantom... He-he.Did anyone see Samuelson? Did Josefine? I want to know more about his performance. When I first heard the Swedish cast recording, I was put off a bit by his vocals, but they've since grown on me a lot and I've really taken to him.
I'm sure Josefine will tell a lot more about Samuelson's portrayal, but from everything I've heard he had a wonderful hand thing going on, very expressive. I've heard that from several, and I think I would have loved to see him live. Just like you, I was put off by his vocals first time I heard the Swedish CD (I think I even hated it at one point), but today he's the Phantom I
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Filichia Features: Merrily Indeed Rolls Along
On Oct. 23rd, more people saw the musical version of Merrily We Roll Along than at any time in its 32-year-history. No fewer than 465 cinemas around the nation were broadcasting the production that the Menier Chocolate Factory in London had mounted.
In 1981, would anyone have expected this from a show that closed on Broadway after 52 previews and 16 official performances? The failure was all the more surprising because the show was written by composer-lyricist Stephen Sondheim, bookwriter George Furth and directed by Harold Prince.
But the decision to close was a savvy one, and not simply because a fight against the negative reviews would have meant throwing good money after bad. By saying “We know when we’re not wanted. We’ll go away,” the creators immediately created a Merrily mystique. Directors of musicals around the world were saying, “Let me see if I can fix it” – which has meant thousands of productions in nearly a thi