Previous studies have demonstrated that JAK2 V617F homozygosity could drive phenotypic switch from ET to PV in mice models, and the higher allele burden in PV than in ET as seen in clinical studies is associated with unique disease phenotypes even within a specific MPN subtype. In particular, allele burden of JAK2 V617F carries important pathogenetic and clinical significances in MPNs. In regard to classical MPNs, mutations in JAK2 include JAK2 V617F hotspot mutation and exon 12 mutations.
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Mutations in any one of the mutually exclusive driver genes result in constitutive activation of downstream signaling cascades, which in turn leads to clonal proliferation of hematopoietic precursors and excessive production of terminally differentiated, fully functional blood cells. A hallmark of the genetic background of MPNs that constitutes the diagnostic criteria of World Health Organization (WHO) classification is MPN-restricted driver mutations, including those in Janus kinase 2 (JAK2), calreticulin (CALR) and myeloproliferative leukemia virus (MPL). MPNs include three major clinical entities, i.e., polycythemia vera (PV), essential thrombocythemia (ET) and primary myelofibrosis (PMF).
BACKGROUNDĬlassical myeloproliferative neoplasms (MPNs) are multipotent hematopoietic stem cell disorders characterized by excess production of various blood cells. The disclosure relates to a method of quantifying a mutant allele burden of a target gene by using a recombinant plasmid pair as a standard. The instant application contains a Sequence Listing which has been filed electronically in ASCII format. TICKETS: $25-$30, with half-price rush tickets on Wednesdays and $15 seats for seniors and students on Sundays.This application claims priority of U.S. WHERE: Stoner Theater, Des Moines Civic Center, 221 Walnut St. WHEN: Opening Friday, with performances at 7:30 p.m. "We get to know and love this object on stage, and sometimes, it seems even more human because we have to be so specific about it." "It's not that you forget the operator is there, but the focus is on this extension of the human self into a non-human object," she said. "You have to break down every action into individualized units."Īnd it's those units that bring the puppets to life. "You can't look at a still puppet and know what it's thinking," Petefish-Schrag said. In puppet-speak that's called "finding the zero." The actors have to show how the puppets listen or rest, how they're neutral sometimes but not lifeless. "It's the little movements in between lines - brushing your (the puppet's) hair, picking your nose - that really connect the dots," Reese said. "When you're holding your arm up for an extended period of time, it really drains your stamina," he said.īut there were more smaller challenges, too. Charlie Reese, who voices the main character, has been hitting the gym to work on his shoulders.
The teams with two-person puppets practiced so the right hand literally knew what the left hand was doing. in Dayton, Ohio (director Karla Kash's hometown) and started with the basics of moving people and puppets around the crowded stage. StageWest rented the Muppet-style puppets from the Zoot Theatre Co. "They picked things up really quickly," she said. She coached the StageWest cast during a workshop earlier this month, in between theater-teaching jobs at Northwest Missouri State and Iowa State, where she'll start in the fall.
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