Word: humana
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Dates: during 1980-1989
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Hearts at the University of Utah surely skipped a beat last week when Dr. William DeVries, 40, the pioneer surgeon who in 1982 implanted an artificial heart in retired Dentist Barney Clark, made a surprise announcement: he is resigning from the Salt Lake City medical center to join Humana Heart Institute International in Louisville. The institute is owned by Humana Inc., which operates a chain of 90 hospitals in the U.S. and three foreign countries...
...tape." He expects the ethical-review process to be speedier in Kentucky, but there will still be some red tape to get through. The Utah unit was the only one in the country with authorization from the Food and Drug Administration to perform artificial-heart surgery. Now the Humana institute must obtain the same approval...
DeVries noted last week that the one-year-old Humana facility "has more equipment and more people than I did at Utah." Nor will he face the lack of money that he did at the largely publicly funded center in Salt Lake City. DeVries had to buttonhole benefactors personally to help cover Clark's hospital expenses of more than $250,000. Humana has pledged to underwrite the surgical costs of up to 100 artificial-heart implants. DeVries' own income will depend on his private practice. As is standard in experimental surgery, his services for the implant operations will...
...town these days. Last Thursday, on the night of The Game, a smaller but no less demanding group of enthusiasts from all over the U.S. and a dozen foreign countries convened in Louisville to search for the future of the American theater. Now in its eighth year, the Humana Festival of New American Plays has helped nurture such authors as Beth Henley and Marsha Norman from early promise to mature achievement. The festival-nine full-length plays in three days, all produced by Jon Tory's Actors Theater of Louisville-continues to solidify its reputation as the theater...
...incarnated with creepy brilliance by John Spencer) will be followed by some wildly comic testimony that might have come from Carol Burnett's blooper barrel. Execution of Justice, directed by Oskar Eustis and Anthony Taccone, is a major work that seems to stand outside the perimeters of most Humana Festival plays. Yet its concerns are the same: to examine, with care and craft, the rending dynamics of American society. In life and art, these plays argue, get back to essentials...