![]() The need to develop new drugs in order to effectively treat various forms of cancer is widely recognized. Numerous compounds have been developed as potential candidates for anticancer drugs, but only a handful of them have become effective clinical drugs (for reviews, see Hurley & Chaires 1996, Priebe 1995a, Kopka & Larsen 1992, Propst & Perun 1992, Lown 1988). Understanding the underlying mechanism of the drug action at the cellular and molecular levels through those structural studies should be useful in the development of new anticancer drugs.Ĭhemotherapy is an important part of the program for combating cancers. Here we review the structural aspects of the interactions of several anticancer drugs acting on: (1) the N2 amino group of guanine in the minor groove, (2) the N3 atom of guanine and adenine in the minor groove, (3) the N7 atom of guanine and adenine in the major groove, and finally, (4) the C4′, C5′, and C1′ atoms of the deoxyribose in the backbone of B-DNA double-helix. In particular, it was found that specific atomic sites on DNA are often the targets for drug covalent actions. These results have provided useful insights into DNA conformation and drug-DNA interactions. During the past decade, the detailed molecular interactions of several DNA-acting anticancer drugs with DNA have been studied with structural tools, including high resolution X-ray diffraction and NMR spectroscopy. Finally, some (e.g., duocarmycin/CC-1065, bleomycin/pepleomycin, and enediyne antibiotics) cause DNA backbone cleavages. Others, such as cisplatin, mitomycin C, and ecteinascidins, form covalent linkages with DNA. Some form noncovalent complexes with DNA by either intercalation (such as daunorubicin and doxorubicin) or groove-binding (such as distamycin A). There are several classes of DNA-acting anticancer drugs. In fact, DNA can be considered as a macromolecular receptor for those drugs. In 2018 he starred in feature film The Bromley Boys.The interactions of many important anticancer drugs with DNA play important roles in their biological functions. I think he would be very happy that I’ve taken his place.” “Dad loved the show and I think he would be very proud that it is going to continue, and in a way it’s continuing in his memory. They had known him for all those years as well. They had all been through a traumatic shock when Dad died. I was very aware of how wary the other cast members might be of me. It was emotional, but very early on I decided the only way I could tackle it was by being a professional. Talking about taking on the role, he said: “At first when I arrived on set it was very odd. Alan suggested the idea to me and I thought about it for two seconds before saying yes.” “Obviously my mind was on other things, like organising the funeral, and it hadn’t occurred to me at all that I would be approached to play Compo’s long-lost son. “It was two or three days after Dad had died,” said Owen in 2000. The first he knew of the search by the show’s writer, Roy Clarke, was when he received a phone call from the producer Alan Bell. Owen was chosen to play Compo’s long-lost son just days after the death of his father in July 1999 from cancer. ![]() After spending 12 months there he moved on to take up a similar job at the Westminster theatre.Īfter four years working in television, Owen returned to repertory theatre in Sidmouth, Devon, and continued to work and direct in theatre. Owen began his career in acting after leaving school, and his father was instrumental in landing him his first job as an assistant stage manager at the Leatherhead theatre in Surrey. His family said: “He passed away peacefully and is survived by his two children, James and William, and ex-wife, Mary.” His other television credits included The Bill, The Onedin Line and Upstairs Downstairs. ![]()
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