prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: 1956 Night Series Cup games were played at what inner suburb of Melbourne that is 3km south of Melbourne's central business district?

The following are given passages.
Context 1: Passage 1:
1961 Night Series Cup
The 1961 VFL Night Premiership Cup was the Victorian Football League end of season cup competition played in August and September of the 1961 VFL Premiership Season  This was the sixth season of the VFL Night Series  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1961 VFL finals series  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  Geelong won its first night series cup defeating North Melbourne in the final by 12 points 

Games
Round 1
Semifinals
Final
See also
List of Australian Football League night premiers
1961 VFL season

External links
1961 VFL Night Premiership - detailed review including quarter-by-quarter scores, best players and goalkickers for each match
Passage 2:
1971 Heinz Cup
The 1971 VFL H J  Heinz Night Premiership was the Victorian Football League end of season cup competition played in September of the 1971 VFL Premiership Season  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1971 VFL finals series  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  It was the 16th and last VFL Night Series competition, with the series disbanded the following year due to waning interest and the introduction of the final five in the premiership competition  Melbourne won its first night series cup defeating Fitzroy in the final by 16 points 

Games
Round 1
Semi-finals
Final
See also
List of Australian Football League night premiers
1971 VFL season
Passage 3:
1965 Golden Fleece Cup
The 1965 VFL Golden Fleece Night Premiership was the Victorian Football League end of season cup competition played in September of the 1965 VFL Premiership Season  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1965 VFL finals series  It was the tenth VFL Night Series competition  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  This was the first time the Night Series cup had a naming rights sponsor in Golden Fleece petroleum products  North Melbourne won its first night series cup defeating Carlton in the final by 40 points 

Games
Round 1
Semi-finals
Final
See also
List of Australian Football League night premiers
1965 VFL season

External links
1965 VFL Night Premiership - detailed review including quarter-by-quarter scores, best players and goalkickers for each match
Passage 4:
1956 Night Series Cup
The 1956 VFL Night Premiership Cup was the Victorian Football League end of season cup competition played between the eight teams that didn't make the finals of that season  It was held between 23 August to 17 September 1956 with games being played at the Lake Oval, home ground of South Melbourne as it was the only ground equipped to host night games 
Eight teams played in the first competition with the final seeing an attendance of 32,450 as South Melbourne defeated Carlton in the final by 6 points (13 16 94 to 13 10 88) 

Games
Quarterfinals
The opening match of the 1956 edition saw South Melbourne record the first victory of the new competition by 20 points over St Kilda  But the match was remembered for the brawl that happened in the third quarter which featured all of the players, umpires and some spectators in scenes not since the 1945 VFL Grand Final between Carlton and South Melbourne  The following match which was played five days later saw a surprise victory by North Melbourne who defeated Essendon by two points with North Melbourne leading at every change to get the win  Richmond and Carlton also recorded narrow wins over Hawthorn and Fitzroy in the remaining two quarter-finals which was played on 30 August and the 4 September 

Semifinals
The semi-finals began on the 6 September with South Melbourne taking on North Melbourne  In another tight tussle between the teams, it was not until late on in the final quarter with the usage of the wind that South Melbourne would take the win with a goal from Monks sealing the five point victory  In the second semi-final, an attendance of 25,500 saw Carlton win the match by 12 points in what The Age called fast, rugged and exciting football with Carlton leading at each break to record the victory 

Final
The final of the 1956 edition was played on the 17 September 1956 between South Melbourne and Carlton  With an attendance of 32,450 watching the match, South Melbourne's win was credited in the second quarter when they outscored Carlton 4 2 to 0 3 to open up a thirty-one point lead  Carlton tried to come back into the match throughout the final quarter and had a chance to take the lead but a dropped pass from Hands would give South Melbourne the win by six points and become the first winners of the Night Series Cup 

See also
List of Australian Football League night premiers
1956 VFL season
Passage 5:
1958 Night Series Cup
The 1958 VFL Night Premiership Cup was the Victorian Football League end of season cup competition played in August and September of the 1958 VFL Premiership Season  This was the third year the VFL Night Series had existed  In last years competition, each of the day finalists were duly defeated upon entry and their addition to the competition resulted in a drawn-out and complicated fixture of matches  The VFL thus elected to return to the original format for this year's competition as previously used in the 1956 Night Series Cup  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1958 VFL finals series  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  St Kilda went on to win the night series cup, defeating Carlton in the final by 8 points 

Games
Round 1
Semifinals
Final
See also
List of Australian Football League night premiers
1958 VFL season

External links
1958 VFL Night Premiership - detailed review including quarter-by-quarter scores, best players and goalkickers for each match
Passage 6:
1960 Night Series Cup
The 1960 VFL Night Premiership Cup was the Victorian Football League end of season cup competition played in September of the 1960 VFL Premiership Season  This was the fifth season of the VFL Night Series  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1960 VFL finals series  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  South Melbourne went on to win the night series cup for the third time, defeating Hawthorn in the final by 13 points 

Games
Round 1
Semifinals
Final
See also
List of Australian Football League night premiers
1960 VFL season

External links
1960 VFL Night Premiership - detailed review including quarter-by-quarter scores, best players and goalkickers for each match
Passage 7:
Albert Park, Victoria
Albert Park is an inner suburb of Melbourne, Victoria, Australia, 4 km (2 5 mi) south of Melbourne's Central Business District  The suburb is named after Albert Park, a large lakeside urban park located within the City of Port Phillip local government area  Albert Park recorded a population of 6,044 at the 2021 census The suburb of Albert Park extends from the St Vincent Gardens to Beaconsfield Parade and Mills Street  It was settled residentially as an extension of Emerald Hill (South Melbourne)  It is characterised by wide streets, heritage buildings, terraced houses, open air cafes, parks and significant stands of mature exotic trees, including Canary Island Date Palm and London Planes 
The Albert Park Circuit has been home to the Australian Grand Prix since 1996, with the exception of 2020–2021 due to the COVID-19 lockdowns 

History
Indigenous Australians first inhabited the area that is now Albert Park around 40,000 years ago  The area was a series of swamps and lagoons  The main park after which the suburb was named was declared a public park and named in 1864 to honour Queen Victoria's consort, Prince Albert Albert Park was used as a garbage dump, a military camp and for recreation before the artificial lake was built  In 1854 a land-subdivision survey was done from Park Street, South Melbourne, to the northern edge of the parkland (Albert Road)  St Vincent Gardens were laid out and the surrounding streets home to the city's most successful citizens  Street names commemorated Trafalgar and Crimean War personalities 

Heritage Victoria notes that Albert Park's St Vincent Gardens "is historically important as the premier 'square' development in Victoria based on similar models in London  It is significant as the largest development of its type in Victoria and for its unusual development as gardens rather than the more usual small park" and "was first laid out in 1854 or 55, probably by Andrew Clarke, the Surveyor-General of Victoria  The current layout is the work of Clement Hodgkinson, the noted surveyor, engineer and topographer, who adapted the design in 1857 to allow for its intersection by the St Kilda railway line  The precinct, which in its original configuration extended from Park Street in the north to Bridport Street in the south and from Howe Crescent in the east to Nelson Road and Cardigan Street in the west, was designed to emulate similar 'square' developments in London, although on a grander scale  The main streets were named after British naval heroes  The development of the special character of St Vincent Place has been characterised, since the first land sales in the 1860s, by a variety of housing stock, which has included quality row and detached houses and by the gardens which, although they have been continuously developed, remain faithful to the initial landscape concept "
St Vincent's is a garden of significant mature tree specimens  It is registered with the National Trust and is locally significant for the social focus the gardens provide to the neighbourhood  Activities in the park range from relaxing walks, siestas to organised sports competition  The Albert Park Lawn Bowls Club was established in 1873 and the Tennis Club established 1883, on the site of an earlier croquet ground 

Geography
Albert Park features part of the massive Albert Park and Lake (formerly South Park in the 19th century until it was also renamed after Prince Albert) and is located nearby  It is a significant state park managed by Parks Victoria  It is also known as the site of the Albert Park Circuit 

Commercial centres
Commercial centres include Bridport Street, with its cafes and shops and Victoria Avenue, known for its cafes, delicatessens and boutiques 

Beach areas
Albert Park has a long beach frontage, with several distinctive features, including many grand buildings (such as the Victoria Hotel, a grand hotel and former coffee palace, now café bar, built in 1887) and Victorian terrace homes; Kerferd Kiosk, an iconic Edwardian bathing pavilion and Kerferd Pier, which terminates Kerferd Road and is a jetty onto Port Phillip, used for fishing by many and sharks have occasionally been found around it 

Albert Park and Lake
The lake is popular with strollers, runners and cyclists  Dozens of small yachts sail around the lake on sunny days  Only the north eastern part of the park and lake is actually in the suburb, the rest is in the neighbouring suburbs of South Melbourne, Melbourne, Middle Park and St Kilda 

Demographics
At the 2016 census, Albert Park had a population of 6,215  66 2% of people were born in Australia  The next most common countries of birth were England 5 4%, Greece 4 0% and New Zealand 2 5%  74 2% of people only spoke English at home  Other languages spoken at home included Greek at 8 0%  The most common responses for religion were No Religion 39 3% and Catholic 18 4% 

Housing
Albert Park is composed mainly of Victorian terrace and semi-detached housing  Many residential areas are in heritage overlays to protect their character  Boyd Street, a leafy backstreet near Middle Park, is a fine example of this 

Transport
Beaconsfield Parade is the main beachside thoroughfare, between St Kilda and Port Melbourne, which runs along the Port Phillip foreshore  Richardson Street and Canterbury Road follows a similar inland route south to St Kilda  The main road arterial is Kerferd Road, a wide boulevard lined with elm trees and a central reservation, which connects from South Melbourne's Albert Road  Pickles Street, Victoria Avenue and Mills Street are the main roads running west and east toward South Melbourne 
Several tram routes service Albert Park; Route 1 along Victoria Avenue, Route 12 along Mills Street and Route 96 on a reservation parallel to Canterbury Road 
Until 1987, Albert Park was serviced by the St Kilda railway line, with Albert Park railway station being located at Bridport Street  The line has since been converted to serve trams, and forms a large part of the Route 96 tram line 
CDC Melbourne's Route 606 runs through the suburb  There are segregated cycle facilities along the beach and Canterbury Roads, with marked bicycle lanes elsewhere 

Sport
The suburb has been home to the Formula One Australian Grand Prix since 1996  The Albert Park Circuit runs on public roads  The choice of Albert Park as a Grand Prix venue was controversial, with protests by the Save Albert Park group  In preparing the Reserve for the race existing trees were cut down and replaced during landscaping, roads were upgraded, and facilities were replaced  Both major political parties support the event  The Melbourne Supercars Championship is also held on the same circuit 
Albert Park is the home of soccer club South Melbourne FC who play out of Lakeside Stadium; aptly named due to its positioning next to Albert Park Lake  Lakeside Stadium (known then as Bob Jane Stadium) was redeveloped in 2010 to include an international standard athletics track, as well as new grandstands and administrative facilities, and is also the home of the Victorian Institute of Sport  The stadium was built on the site of the old Lake Oval, which was an historic Australian rules football venue for the South Melbourne Football Club 
The Melbourne Sports & Aquatic Centre (MSAC) is a large swimming centre, which hosted squash, swimming, diving events and table tennis during the 2006 Commonwealth Games  The MSAC is also the home of the Melbourne Tigers that play in the South East Australian Basketball League 
In December 2006 polo returned to Albert Park Reserve after an absence of 100 years 
Albert Park is home to a parkrun event  The event at Albert Park is held at 8am every Saturday and starts in the Coot Picnic area, opposite the MSAC 

Notable residents
Hilda and Laurel Armstrong – 'The Vegemite Girls', sisters who coined the name of the iconic Australian food spread in 1923
Mae Busch (1891–1946) – actress, co-star in the films of famous Hollywood comedy duo Laurel and Hardy
Roy Cazaly (1893–1963) – Australian rules football legend [birthplace]
Noel Jack Counihan (1913–1986) – artist and revolutionary, made social realist art in response to the political and social issues of his times
John Danks (1828–1902) – businessman, manufacturer, councillor, benefactor; Danks Street named after him
Private Edward "Eddie" Leonski [US Army] (1917–1942) – infamous serial killer; during World War II was stationed in Melbourne and murdered three women  Was hanged for the crimes on 9 November 1942  His first victim, Ivy McLeod, was found beaten and strangled in a doorway in Albert Park, killed by Leonski after he drank whisky all morning and afternoon at the Bleak House Hotel (aka Beach House Hotel)
Walter Lindrum (1898–1960) – world-famous billiards player, regarded as the greatest ever to play the game
Likely Herman "Like" McBrien (1892–1956) – leading Australian Rules football administrator and politician
Ernest McIntyre (1921–2003) – Australian rules footballer [birthplace]
Allan McLean (1840–1911) – pastoralist, station agent, politician; 19th Premier of Victoria in 1899; elected to the first Commonwealth Parliament in 1901
Albert Monk (1900–1975) – union and labour leader; during World War Two was concurrent president of the ACTU & Trades Hall Council & ALP Victorian branch; seminally influenced the growth of the ACTU as Australia's peak trade union organization  His house was in Kerferd Road
King O'Malley (1858–1953) – politician, influential in the establishment of the Commonwealth Bank and the selection of Canberra as the national capital
Alex Lahey, singer-songwriter and multi-instrumentalist who was born and raised in Albert Park

See also
City of South Melbourne – Albert Park was previously within this former local government area 
Passage 8:
1957 Night Series Cup
The 1957 VFL Night Premiership Cup was the Victorian Football League end of season cup competition played in August, September and October of the 1957 VFL Premiership Season  This was the second edition that the VFL Night Series had existed with the competition expanding to feature all twelve teams  The games were being played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games 
In the final, South Melbourne took out their second night series cup, defeating Geelong by 51 points (15 13 103 to 8 4 52)  This would later be the only edition until 1977 to feature all twelve teams at the time 

Games
Round 1
Round 2
Semifinals
Final
See also
List of Australian Football League night premiers
1957 VFL season
Passage 9:
1966 Golden Fleece Cup
The 1966 VFL Golden Fleece Night Premiership was the Victorian Football League end of season cup competition played in September of the 1966 VFL Premiership Season  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1966 VFL finals series  It was the eleventh VFL Night Series competition  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  North Melbourne won its second night series cup in a row defeating Hawthorn in the final by 53 points 
Three rule changes, all of which were eventually permanently adopted in the VFL, were trialled during this series:,
A free kick was awarded against a player if the ball was kicked out of bounds on the full  Adopted in 1969 
A 50yd square was drawn in the centre of the ground, and no more than four players from each team were allowed within the square during a centre bounce; this was to reduce congestion at centre bounces  Adopted in a modified form in 1973 
The number of boundary umpires was increased from two to four  Adopted in 2008 

Games
Round 1
Semi-finals
Final
See also
List of Australian Football League night premiers
1966 VFL season
Passage 10:
1967 Golden Fleece Cup
The 1967 VFL Golden Fleece Night Premiership was the Victorian Football League end of season cup competition played in August and September of the 1967 VFL Premiership Season  Run as a knock-out tournament, it was contested by the eight VFL teams that failed to make the 1967 VFL finals series  It was the twelfth VFL Night Series competition  Games were played at the Lake Oval, Albert Park, then the home ground of South Melbourne, as it was the only ground equipped to host night games  Footscray won its third night series cup defeating South Melbourne in the final by 45 points 

Games
Round 1
Semi-finals
Final
See also
List of Australian Football League night premiers
1967 VFL season

External links
1967 VFL Night Premiership - detailed review including quarter-by-quarter scores, best players and goalkickers for each match
Context 2: Passage 1:
Anacardiaceae
The Anacardiaceae, commonly known as the cashew family or sumac family, are a family of flowering plants, including about 83 genera with about 860 known species  Members of the Anacardiaceae bear fruits that are drupes and in some cases produce urushiol, an irritant  The Anacardiaceae include numerous genera, several of which are economically important, notably cashew (in the type genus Anacardium), mango, Chinese lacquer tree,  yellow mombin, Peruvian pepper, poison ivy, poison oak, sumac, smoke tree, marula and cuachalalate   The genus Pistacia (which includes the pistachio and mastic tree) is now included, but was previously placed in its own family, the Pistaciaceae 

Description
Trees or shrubs, each has inconspicuous flowers and resinous or milky sap that may be highly poisonous, as in black poisonwood and sometimes foul-smelling Resin canals located in the inner fibrous bark of the fibrovascular system found in the plant's stems, roots, and leaves are characteristic of all members of this family; resin canals located in the pith are characteristic of many of the cashew family species and several species have them located in the primary cortex or the regular bark   Tannin sacs are also widespread among the family The wood of the Anacardiaceae has the frequent occurrence of simple small holes in the vessels, occasionally in some species side by side with scalariform holes (in Campnosperma, Micronychia, and Heeria argentea (Anaphrenium argenteum)   The simple pits are located along the vessel wall and in contact with the parenchyma Leaves are deciduous or evergreen, usually alternate (rarely opposite), estipulate (without stipule) and imparipinnate (rarely paripinnate or bipinnate), usually with opposite leaflets (rarely alternate), while others are trifoliolate or simple or unifoliolate (very rarely simple leaves are palmate)  Leaf architecture is very diverse  Primary venation is pinnate (rarely palmate)  Secondary venation is eucamptodromous, brochidodromous, craspedodromous or cladodromous (rarely reticulodromous) Cladodromous venation, if present is considered diagnostic for Anacardiaceae Flowers grow at the end of a branch or stem or at an angle from where the leaf joins the stem and have bracts 
Often with this family, bisexual and male flowers occur on some plants, and bisexual and female flowers are on others, or flowers have both stamens and pistils (perfect)   A calyx with three to seven cleft sepals and the same number of petals, occasionally no petals, overlap each other in the bud   Stamens are twice as many or equal to the number of petals, inserted at the base of the fleshy ring or cup-shaped disk, and inserted below the pistil(s) 
Stamen stalks are separate, and anthers are able to move 
Flowers have the ovary free, but the petals and stamen are borne on the calyx 
In the stamenate flowers, ovaries are single-celled   In the pistillate flowers, ovaries are single or sometimes quadri- or quinticelled   One to three styles and one ovule occur in each cavity Fruits rarely open at maturity
and are most often drupes Seed coats are very thin or are crust-like  Little or no endosperm is present    Cotyledons are fleshy 
Seeds are solitary with no albumen around the embryo 

Taxonomy
History
In 1759, Bernard de Jussieu arranged the plants in the royal garden of the Trianon at Versailles, according to his own scheme  That classification included a description of an order called the Terebintaceæ, which contained a suborder that included Cassuvium (Anacardium), Anacardium (Semecarpus), Mangifera, Connarus, Rhus, and Rourea   In 1789, Antoine Laurent de Jussieu, nephew of Bernard de Jussieu, published that classification scheme Robert Brown described a subset of the Terebintaceae called Cassuvlæ or Anacardeæ in 1818, using the herbarium that was collected by Christen Smith during a fated expedition headed by James Hingston Tuckey to explore the River Congo   The name and genera were based on the order with the same name that had been described by de Jussieu in 1759   The herbarium from that expedition contained only one genus from the family, Rhus Augustin Pyramus de Candolle in 1824, used Robert Brown's name Cassuvlæ or Anacardeæ, wrote another description of the group, and filled it with the genera Anacardium, Semecarpus, Holigarna, Mangifera, Buchanania, Pistacia, Astronium, Comocladia, and Picramnia John Lindley described the "essential character" of the Anacardiaceæ, the "Cashew Tribe" in 1831, adopting the order that was described by de Jussieu, but abandoning the name Terebintaceæ   He includes the genera that were found in de Candolle's Anacardieæ and Sumachineæ: Anacardium, Holigarna, Mangifera, Rhus, and Mauria 

Phylogeny
The genus Pistacia has sometimes been separated into its own family, the Pistaciaceae, based on the reduced flower structure, differences in pollen, and the feathery style of the flowers The nature of its ovary, though,  does suggest it belongs in the Anacardiaceae, a position supported by morphological and molecular studies, and recent classifications have included Pistacia in the Anacardiaceae  The genus Abrahamia was separated from Protorhus in 2004 (Pell 2004)

Subdivision
The family has been treated as a series of five tribes by Engler, and later into subfamilies by Takhtajan, as Anacardioideae (including tribes Anacardieae, Dobineae, Rhoideae, and Semecarpeae) and Spondiadoideae (including tribe Spondiadeae)  Pell's (2008) molecular analysis reinstated the two subfamilies without further division into tribes (Pell 2004)  Later, Min and Barfod, in the Flora of China (2008) reinstated the five tribes (four in Anacardioideae), and the single tribe Spondiadeae as Spondiadoideae 

Selected genera
Ecology
The cashew family is more abundant in warm or tropical regions with only a few species living in the temperate zones  Mostly native to tropical Americas, Africa and India   Pistacia and some species of Rhus can be found in southern Europe,  Rhus species can be found in much of North America and Schinus inhabits South America exclusively 

Uses
Members of this family produce cashew and pistachio nuts, and mango and marula fruits Some members produce a viscous or adhesive fluid which turns black and is used as a varnish or for tanning and even as a mordant for red dyes  The sap of Toxicodendron vernicifluum is used to make lacquer for lacquerware and similar products 

Etymology
The name Anacardium, originally from the Greek, refers to the nut, core or heart of the fruit, which is outwardly located: ana means "upward" and -cardium means "heart") 
Passage 2:
Commiphora gileadensis
Commiphora gileadensis, the Arabian balsam tree, is a shrub species in the genus Commiphora growing in Saudi Arabia, Yemen, southern Oman, Sudan and in southeast Egypt where it may have been introduced  Other common names for the plant include balm of Gilead and Mecca myrrh, but this is due to historical confusion between several plants and the historically important expensive perfumes and drugs obtained from them 

True balm of Gilead was very rare, and appears to have been produced from the unrelated tree Pistacia lentiscus  The Commiphora gileadensis species also used to include Commiphora foliacea, however it was identified and described as a separate species

Use
Historical
The plant was renowned for the expensive perfume that was thought to be produced from it, as well as for exceptional medicinal properties that were attributed to its sap, wood, bark, and seeds  Commiphora gileadensis is instantly recognisable by the pleasant smell given out when a twig is broken or a leaf crushed 

Modern
The bark of the balsam tree is cut to cause the sap to flow out  This soon hardens, and has a sweet smell that quickly evaporates  The hardened resinous gum is chewed, is said to taste either like a lemon or like pine resin, and it is also burned as incense 

Description
Depending on where Commiphora gileadensis is growing, it can vary in size, ranging from a small-leaved shrub to a large-leaved tree usually up to 4m tall   It is rarely spiny, bark peeling or flaking when cut and exuding a pleasant smelling resin  Its leaves alternate on short condensed side shoots, pinnate with 3-5 leaflets   The leaflets are oblong, 5-40mm long x 3-35mm across with acute tips and are thinly hairy   The flowers are red, sub-sessile and the plant has 1-5 of them on short condensed side shoots amongst the leaves  The fruits are dull red and marked with four longitudinal white stripes, one-seeded and splitting into 2-4 valves 
Passage 3:
Pistacia
Pistacia is a genus of flowering plants in the cashew family, Anacardiaceae  It contains 10 to 20 species that are native to Africa and Eurasia from the Canary Islands, all of Africa, and southern Europe, warm and semidesert areas across Asia, and North America from Mexico to warm and semidesert United States, such as Texas or California 

Description
Pistacia plants are shrubs and small trees growing to 5–15 m (16–49 ft) tall  The leaves are alternate, pinnately compound, and can be either evergreen or deciduous depending on species  All species are dioecious, but monoecious individuals of Pistacia atlantica have been noted  The genus is estimated to be about 80 million years old It is a genus of flowering plants belonging to the family Anacardiaceae  The plants are dioecious, and have male and female trees independently; a viable population should have both sexes Well-known species in the genus Pistacia include P  vera, the pistachio, grown for its edible seeds; P  terebinthus, from which terebinth resin, a turpentine, is produced; P  lentiscus, source of the plant resin mastic; and P  chinensis, the Chinese pistache, cultivated as an ornamental tree 

P  vera genome
Scientists from Iran and China assembled a draft genome of pistachio and resequenced 107 whole genomes, including 93 domestic and 14 wild individuals of P  vera and 35 other genomes from different wild Pistacia species  Integrating genomic and transcriptomic analyses revealed expanded gene families (e g , cytochrome P450 and chitinase) and the jasmonic acid (JA) biosynthetic pathway that are likely involved in stress adaptation  Comparative population genomic analyses revealed that pistachio was domesticated about 8000 years ago, and that likely key genes for domestication are those involved in tree and seed size, which experienced artificial selection 

Species
Bursera simaruba (L ) Sarg  was formerly classified as P  simaruba L 

Ecology
The Pistacia species are vicarious Anacardiaceae with few species outside the Old World, and are mostly more adapted to water shortage and alkaline soil Many plant species are adapted to desert or summer drought typical of Mediterranean climate, so have a high tolerance to saline soil  They grow well in water containing up to 3 0 to 4 0% of soluble salts  They are quite resilient in their ecological requirements, and can survive in temperatures ranging from −10 °C in winter to 45 °C in summer  They prefer places oriented toward the sun and well-drained soil, but grow well in the bottom of ravines  Though very hardy and drought resistant, Pistacia species grow slowly and only begin to bear fruit after about 7-10 years from planting, obtaining full development only after 15-20 years  The fruit ripens in the Mediterranean from August; only female trees have fruit Although some species prefer moderate humidity, they do not grow well in high-humidity conditions  They are susceptible to root rot, molds, and fungi, and parasites attack if they receive too much water and the soil has insufficient drainage  They require a period of drought each year for proper development 
Their leaves are intensely bright green and leathery, with three to nine leaflets  The leaves are alternate, compound, and paripinnate 
The flowers are unisexual, apetalous, and grouped in clusters  The flowers range from purple to green  The fruit is a drupe, generally unpalatable to humans, the size of a pea, and red to brown in color, depending on the degree of maturation  The seeds do not have endosperm 
The seeds are eaten and dispersed by birds, for which they are a valuable resource because of the scarcity of food in some important times of year, as the time of breeding, migration, or the dry season  The commercial species of pistachio has larger fruits and is edible The plants emit a bitter, resinous, or medicative smell, which in some species is very intense and aromatic  Some species develop "galls" that occur in the leaves and leaflets after the bite of insects  Although marred by the presence of galls, they are very vigorous and resistant plants that survive in degraded areas where other species have been eliminated  They multiply by seeds, stolons, and root shoots  Various species hybridize easily between them, and hybrid plants are difficult to identify Some tree species (e g  Pistacia aethiopica, Pistacia atlantica) can exist as small bushes and shrubs due to the extremes of their habitat, adverse conditions, or the excessive consumption by wildlife or livestock that hinders growth Pistacia lentiscus is a very common plant related to P  terebinthus with which it hybridizes  P  terebinthus is more abundant in the mountains and inland in the Iberian Peninsula, and mastic is usually found more frequently in areas where the Mediterranean influence of the sea prevents or moderates frost  Some species with very small ranges cover only one or a group of islands in the Mediterranean  P  terebinthus is also found on the east coast of the Mediterranean, Syria, Lebanon, and Israel, filling the same ecological niche of these species  On the west coast of the Mediterranean, the Canary Islands, and the Middle East, it can be confused with Pistacia atlantica Pistacia species are used as food plants by the larvae (caterpillars) of some species of Lepidoptera including the emperor moth 

Cultivation and uses
Best known as the pistachio, P  vera is a small tree native to Iran, grown for its edible seeds  The seeds of the other species were also eaten in prehistory, but are too small to have commercial value today   Records of Pistacia from preclassical archaeological sites, and mentions in preclassical texts, always refer to one of these other species (often P  terebinthus) P  terebinthus (the terebinth), also a native of Iran, and the western Mediterranean countries, is tapped for turpentine  It is also common in the eastern Mediterranean countries   Because terebinths have the ability to kill certain bacteria, terebinth resin was widely used as a preservative in ancient wine   In the Zagros Mountains of Iran, in one of the earliest examples of winemaking, archaeologists discovered terebinth resin deposits from 5400 to 5000 BC in jars that also contained grape-juice residue P  lentiscus, an evergreen shrub or small tree of the Mediterranean region, supplies a resin called mastic P  chinensis (Chinese pistache), the most frost-tolerant species in the genus, is grown as an ornamental tree, valued for its bright red autumn leaf colour 
Passage 4:
Akbesia
Akbesia is a monotypic moth genus in the family Sphingidae erected by Walter Rothschild and Karl Jordan in 1903  Its only species, Akbesia davidi, the pistacia hawkmoth, was first described by Charles Oberthür in 1884  It is known from southern Turkey, northern Syria, northern Israel, western Jordan, south-eastern Turkey, north-eastern Iraq, south-eastern Georgia, northern Iran, eastern Afghanistan and Iranian Beluchistan  It may also occur across Azerbaijan, the Alborz Mountains of northern Iran, the Zagros Mountains of western and southern Iran, and northern Afghanistan  It often occurs in large numbers at certain sites in rocky, hilly areas supporting scattered trees and shrubs of Quercus, Olea, Ceratonia and Pistacia 
The wingspan is 60–70 mm  Although the adults do not feed, they will drink water if offered  There are two generations per year in Iran with adults on wing in April and from late July to August  In northern Iraq, adults are on from May to June and in August 
The larvae have been recorded feeding on Pistacia atlantica and terebinth (Pistacia terebinthus)  Larvae have also been reared on Cotinus coggygria and Rhus coriaria 

Etymology
The genus is named after the town of Akbez (near Hassa) in Turkey 

Subspecies
Akbesia davidi davidi
Akbesia davidi gandhara de Freina & Geck, 2003 (Afghanistan)
Passage 5:
Dracula wallisii
Dracula wallisii is a species of orchid belonging to the genus Dracula  The species is found at altitudes of 1,600 to 2,600 m (5,200 to 8,500 ft) in Cordillera Central, Colombia  It is a common species, with large flowers that are often highly variable in form The species was first discovered near Frontino, Antioquia, Colombia by the German plant collector Gustav Wallis in 1871  It was formally described in 1875 by the German orchidologist Heinrich Gustav Reichenbach who named it after Wallis 
Passage 6:
Terebinth
Pistacia terebinthus also called the terebinth  and the turpentine tree, is a deciduous tree species of the genus Pistacia, native to the Mediterranean region from the western regions of Morocco and Portugal to Greece and western and southeastern Turkey  At one time terebinths growing on the eastern shores of the Mediterranean Sea (in Syria, Lebanon and Israel) were regarded as a separate species, Pistacia palaestina, but these are now considered to be a synonym of P  terebinthus 

Description
The terebinth is a deciduous flowering plant belonging to the cashew family, Anacardiaceae; a small tree or large shrub, it grows to 10 m (33 ft) tall  The leaves are compound, 10–20 cm (3 9–7 9 in) long, odd pinnate with five to eleven opposite glossy oval leaflets, the leaflets 2–6 cm (0 79–2 36 in) long and 1–3 cm (0 39–1 18 in) broad  The flowers are reddish-purple, appearing with the new leaves in early spring  The fruit consists of small, globular drupes 5–7 mm (0 20–0 28 in) long, red to black when ripe  All parts of the plant have a strong resinous smell The terebinth is a dioecious tree, i e  it exists as male and female specimens  For a viable population both sexes must be present  The oblong leaf is bright green, leathery, with 10 cm (3 9 in) long or more with three to nine leaflets  Leaves alternate, leathery and compound paripinnate (no terminal leaflet) with three or six deep green leaflets  They are generally larger and rounder than the leaves of the mastic, reminiscent of the leaves of carob tree  The flowers range from purple to green, the fruit is the size of a pea and turns from red to brown, depending on the degree of maturation  The whole plant emits a strong smell: bitter, resinous, or medicinal  In the vegetative period they develop "galls" shaped like a goat's horn (from which the plant gets the name "cornicabra", the common name in Spanish), that occur on the leaves and leaflets which have been bitten by insects  The species propagates by seeds and shoots  Although marred by the presence of galls, it is a very strong and resistant tree which survives in degraded areas where other species have been eliminated  Pistacia terebinthus is related to Pistacia lentiscus, with which it hybridizes frequently in contact zones  Pistacia terebinthus is more abundant in the mountains and inland and the mastic is usually found more frequently in areas where the Mediterranean influence of the sea moderates the climate  The mastic tree does not reach the size of the Pistacia terebinthus, but the hybrids are very difficult to distinguish  The mastic has winged stalks to its leaflets, i e , the stalks are flattened and with side fins, whereas these stems in Pistacia terebinthus are simple  On the west coast of the Mediterranean, Canary Islands and Middle East, P  terebinthus can be confused with P  atlantica 

Habitat
The terebinth prefers relatively moist areas, up to 600 m (2,000 ft) in elevation  It tolerates Mediterranean summer drought and frost more intense than mastic does  The plant is common in the garrigue and maquis  It appears in deciduous oak wood  It has a gray trunk that is very aromatic, and may have multiple trunks or stems when grown as a shrub  Usually reaching 5 m (16 ft) in height, although in rare cases can reach 10 m (33 ft)  P  terebinthus is one of the European species of Anacardiaceae, a family of about 600 mostly tropical species  It can be found to 1,500 m (4,900 ft) above sea level  P  terebinthus is more moisture demanding than the mastic and more resistant to cold  It requires a sunny exposure and average soils, tolerating lime and some salt, often grows near the sea, deep ravines and near salt-lakes and streams 

History
Historian of Mycenae John Chadwick believes that the terebinth is the plant called ki-ta-no in some of the Linear B tablets  He cites the work of a Spanish scholar, J L  Melena, who had found "an ancient lexicon which showed that kritanos was another name for the turpentine tree, and that the Mycenaean spelling could represent a variant form of this word "The Latin name is underlain by the Ancient Greek name τερέβινθος which, in turn, is underlain by a pre-Greek Pelasgian word, marked by the characteristic consonant complex νθ 
Terebinth from Oricum is referred to in Virgil's Aeneid, Book 10, line 136, where Ascanius in battle is compared to "ivory skilfully inlaid in [   ] Orician terebinth" ("inclusum[   ] Oricia terebintho [   ] ebur") 
Terebinth is referred to by Robin Lane Fox in Alexander the Great: "When a Persian king took the throne, he attended Pasargadae, site of King Cyrus's tomb, and dressed in a rough leather uniform to eat a ritual meal of figs, sour milk and leaves of terebinth "The terebinth is mentioned in the Hebrew Scriptures (or Old Testament), where the Hebrew word elah (plural elot) is used, although the word is sometimes translated as 'oak'  It is clear that the translators are uncertain which translation is correct, [ 
Context 3: Passage 1:
Lev Ivanov
Lev Ivanovich Ivanov (Russian: Лев Ива́нович Ива́нов; 2 March 1834, Moscow – 24 December 1901, Saint Petersburg) was a Russian ballet dancer and choreographer and later, Second Balletmaster of the Imperial Ballet  As a performer with the Imperial Ballet, he achieved prominence after performing as an understudy in a benefit performance of La Fille Mal Gardée   He is most famous as the choreographer of Acts II and IV of Swan Lake, which include the Dance of the Little Swans, Act II of Cinderella, and The Nutcracker, which he choreographed alongside Marius Petipa 

Biography
Ivanov entered the Moscow School of Dance, but in 1844 moved to Saint Petersburg where he studied at the Imperial Ballet, becoming an official member of the Corps de ballet in 1852   Among his teachers during this time were Jean-Antoine Petipa, Alexandr Pimenov, Pierre Frédéric Malavergne and Emile Gredlu (Эмиль Гредлю) 
Historically, Ivanov is credited with choreographing the entirety of premiere of Pyotr Ilyich Tchaikovsky's ballet The Nutcracker in 1892 due to the ill health of the ballet master, Marius Petipa  While some contemporary and modern accounts dispute this, Ivanov is still mentioned in The New Grove Dictionary of Music and Musicians, Second Edition with choreographing at least the majority of the ballet as Petipa had reportedly not progressed very far in his work  Regardless of the amount of work he actually did, Petipa's was the only name listed for choreography on posters for the first production in St  Petersburg Ivanov worked with Petipa on a new restaging of Tchaikovsky's Swan Lake ballet in 1895   Ivanov choreographed the entirety of the lakeside acts or "white acts", Act II and Act IV   This includes the Dance of the Little Swans, an iconic pas de quatre where the four cygnets huddle together and dance in unison, before breaking the chain and falling to the floor whilst attempting to fly  Ivanov also choreographed the Danse Vénitienne (Neapolitan/Venetian Dance) and the Pas Hongrois (Hungarian Dance) of the third bier scene In his last years Ivanov was in financial straits  On the strength of his 50 years' service he petitioned the Imperial Theatres for financial assistance 

Ballets
Original works
La Forêt enchantée (en  The Enchanted Forest)  Ballet-fantastique in one act  Music by Riccardo Drigo  Imperial Ballet School, 5 April [O S  24 March] 1887  Imperial Mariinsky Theatre, 15 May [O S  3 May] 1887 
revival by Marius Petipa  Peterhof, July 1889 
La Tulipe de Haarlem (en  The Harlem Tulip)  Ballet-fantastique in three acts  Music by Baron Boris Fitinhoff-Schell  Imperial Mariinsky Theatre, 16 October [O S  4 October] 1887 
revival by Claudia Kulichevskaya and Pavel Gerdt  Imperial Ballet School, 16 April [O S  3 April] 1902 
revival by Alexander Shiryaev  Imperial Mariinsky Theatre, 29 April [O S  16 April] 1903 
La Flûte magique (en  The Magic Flute)  Ballet-comique in one act  Music by Riccardo Drigo  Imperial Ballet School, 22 March [O S  10 March] 1889  Imperial Mariinsky Theatre, 23 April [O S  11 April] 1889 
La Ruse de Cupidon (en  Cupid's Prank)  Ballet-anacréontique in one act  Music by Alexander Friedman  Krasnoe Selo, 6 August [O S  24 July] 1890  Imperial Mariinsky Theatre, 23 November [O S  11 November] 1890 
La Beauté de Séville (en  The Beauty of Seville)  Divertissement-ballet in one act  Music by various composers  Krasnoe Selo, 10 August [O S  29 July] 1889 
La Fête des bateliers (en  The Boatman's Festival)  Divertissement-ballet in one act  Music by Alexander Friedman  Krasnoe Selo, 7 August [O S  26 July] 1890 
The Nutcracker  Ballet-féerie in two acts  Choreographed jointly with Marius Petipa   Music by Pyotr Ilyich Tchaikovsky  Imperial Mariinsky Theatre, 18 December [O S  6 December] 1892 
Cinderella (a k a  Zolushka)  Ballet-féerie in three acts  Staged jointly with Enrico Cecchetti and Marius Petipa  Music by Baron Boris Fitinhoff-Schell  Imperial Mariinsky Theatre, 17 December [O S  5 December] 1893 
revival by Lev Ivanov  Bolshoi Theatre, Moscow, 12 March [O S  28 February] 1898
Swan Lake  Ballet-fantastique in three acts  Staged jointly with Marius Petipa  Music by Pyotr Illyich Tchaikovsky, revised by Riccardo Drigo  Imperial Mariinsky Theatre, 27 January [O S  15 January] 1895 
Acis et Galatée (en  Acis and Galatea)  Ballet-mythologique in one act  Music by Andrei Kadlets  Imperial Mariinsky Theatre, 2 February [O S  21 January] 1896 
revival by Alexander Shirayev  Imperial Ballet School, 3 May [O S  20 April] 1905 
La Fille du Mikado (en  The Mikado's Daughter)  Ballet-fantastique in three acts  Music by Baron Vasily Wrangell  Imperial Mariinsky Theatre, 21 November [O S  9 November] 1897 
Egyptian Nights (a k a  Une Nuit d'Egypte or Nuits égyptiennes)  Divertissement-ballet in one act  Music by Anton Arensky  Never premiered 
revival by Mikhail Fokine  Imperial Mariinsky Theatre, 8 March [O S  24 February] 1908 
revival by Mikhail Fokine as Cléopâtre for the Ballets Russes  Théâtre du Châtelet, Paris, 2 June 1909 
Sylvia  Ballet-mythologique in three acts  Music by Léo Delibes  Staging completed by Pavel Gerdt due to Ivanov's final illness and death  Imperial Mariinsky Theatre, 15 December [O S  2 December] 1901 
Passage 2:
The Nutcracker (Willam Christensen)
Tchaikovsky's now-classic 1892 ballet The Nutcracker received its first complete production in the U S  on 24 December 1944, performed by the San Francisco Ballet  This production used the ballet's original plot and was choreographed by Willam Christensen, who danced the role of the Cavalier  Gisella Caccialanza, the wife of Lew Christensen, danced the role of the Sugar Plum Fairy  The staging was a huge success and one critic wrote: "We can't understand why a vehicle of such fantastic beauty and originality could be produced in Europe in 1892 with signal success [a factually erroneous claim] and never be produced in its entirety in this country until 1944  Perhaps choreographers will make up for lost time from now on " The company was the first in the U S  to make the ballet an annual tradition, and for ten years, the only company in the United States performing the complete ballet, until George Balanchine's production opened in New York in 1954  (Annual productions of the San Francisco Ballet Nutcracker began in 1949 )
The San Francisco Ballet performs The Nutcracker annually to this day, though not necessarily with Christensen's choreography (their most recent version is choreographed by Helgi Tomasson)  Christensen's Nutcracker continues in Salt Lake City, where it is performed annually by Christensen's Ballet West  The stage success of the Christensen version marked the first step in making productions of The Nutcracker annual Christmas season traditions all over the world – a phenomenon that did not really come to flower until the late 1960s 
Passage 3:
Adam Cooper (dancer)
Adam Cooper (born 22 July 1971) is an English actor, choreographer, dancer and theatre director  He works as both a performer and choreographer in musical theatre, and has choreographed and/or starred in award-winning shows such as On Your Toes, Singin' in the Rain and Grand Hotel  He began his professional career as a dancer of classical ballet and contemporary ballet and is a former Principal of the Royal Ballet, a major international ballet company based in London  He became internationally recognised for creating the lead role of Swan/Stranger in Matthew Bourne's contemporary dance production of the ballet Swan Lake, a role that was briefly featured in the 2000 film Billy Elliot, in which Cooper played the adult version of the titular character 

Biography
Adam Cooper was born 22 July 1971 in Tooting, London to a musician father and a social worker mother  He has an older brother, Simon Cooper, who is also a dancer and they trained at the same schools  From a young age, he and his brother studied tap and ballet at the Jean Winkler School of Dance in Tooting  They also played various musical instruments and sang in a choir  At age 11, Cooper won a place at ArtsEd, a specialist performing arts school in London where he studied classical ballet, character, modern, tap, jazz and contemporary dance, as well as singing, acting and stage combat  After completing his secondary education at the school, aged 16, he was accepted into the Royal Ballet Upper School 
At his graduation performance he played the lead role of Young Man in Ashton's the Two Pigeons Cooper married Sarah Wildor in 2000  She was a principal dancer with the Royal Ballet She has become an Olivier-nominated actress  Their first child, a daughter, was born in 2008  They also have a  son 

Dance
Royal Ballet
In 1989 Cooper joined the Royal Ballet and was quickly promoted to First Artist and Soloist in 1991, First Soloist 1993 and Principal Dancer in 1994  He was recognized for his performances in the classic as well as dramatic and contemporary ballet works, and he excelled in playing cruel but sexy villains  While with the Royal Ballet he worked extensively with choreographers Kenneth MacMillan and William Tuckett partnering all the leading ballerinas of the company including Sylvie Guillem and Darcey Bussell  He also performed works choreographed by George Balanchine, Ashley Page, Fokine, Bronislava Nijinska, Mikhail Baryshnikov, Christopher Wheeldon, Matthew Hart, and William Forsythe  He left the Royal Ballet in 1997 to freelance and expand his career opportunities 

Adventures in Motion Pictures
In 1995 Matthew Bourne recruited Cooper to join Adventures in Motion Pictures (now renamed New Adventures) for his radically re-interpreted production of Swan Lake  Together they created the basic Swan movement motifs and Cooper also contributed to the choreography  Cooper performed the dual Swan/Stranger role (the analog of the white and black swan in the classic version) all over the world and his performances won him international acclaim, multiple awards and a strong fan following  Cooper's performance was described as one of "tremendous excitement, subtlety,emotional depth and sheer sexiness"  The popular press embraced him and his photo appeared in many magazines For his performances as the Swan/Stranger he received the Time Out Award in 1995, the Evening Standard Dance Award in 1997 and the 1999 Astaire Award for Best Dancer  He was also nominated for the 1999 Tony Award for Best Actor in a Musical  He appeared briefly at the end of the 2000 film Billy Elliot as the adult version of the title character, who is seen performing the role of the Swan  A DVD recording of the Swan Lake with Cooper and the original cast was issued in 1996 and can be seen on Youtube com  Excerpts from Swan Lake (Bourne) appeared on the 1998 Royal Variety TV program and he repeated his Swan/Stranger role for the TV audience  His performance in the Billy Elliot film and in the Swan Lake (Bourne) DVD inspired at least one of the boys playing Billy Elliot in the stage production to join New Adventures in the hopes of performing The Swan role  In 2003 Cooper once again played the Swan/Stranger when AMP toured in Japan, and there was enormous enthusiasm for his performance and he acquired a large number of new fans 
In 1997 Cooper was invited by Bourne to take part in the initial planning of AMP's next show, Cinderella  This version of the dance took place in London during the Blitz, but used the same Prokofiev music as the classic version Cinderella (Prokofiev)  Cooper helped to create and performed the role of Pilot (the Prince analog) in the initial 1997 London run and also played the Angel (the Godmother analog), and Sarah Wildor was his partner when she played the title role 
The production was also performed in Los Angeles in 1999 

Freelance dancer and choreographer
In 1998 Cooper worked with the Scottish Ballet to choreograph Just Scratching the Surface  He also performed the Hoffmann role in their production of Tales of Hoffmann  Since then he has gone on to choreograph for other ballet companies and for musical theatre 
Cooper appeared as a dancer and choreographer at the Exeter Festival for 3 years, heading evenings of dance co-produced with Iain Webb  In 2002 Cooper and Sarah Wildor presented a tribute to Sir Kenneth MacMillan at Exeter and in Japan  The Adam Cooper Company represented the UK at the Washington International Ballet Festival in 2003 performing a revival of Sir Kenneth MacMillan's Sea of Troubles Cooper has frequently danced as a guest artist with the Royal Ballet since leaving the company, performing lead roles in Romeo and Juliet, Ondine and Onegin  and others  In 2002 he created the role of Badger in William Tuckett's Wind in the Willows  In 2004 created the title role in Tuckett's The Soldier's Tale, which he reprised in 2005 and later performed in Japan in 2009 and 2015 In 2005 he realized a long-held vision with his own production of Les Liaisons dangereuses, a mixture of theater and dance  Co-directed and designed by Lez Brotherston, the production was choreographed by Cooper and he also played the lead role of Viscomte de Valmont  The piece premiered in Japan early in the year before a summer season at Sadler's Wells, with a cast which included Simon Cooper and Sarah Wildor In 2009 Cooper joined Russell Maliphant to dance in Maliphant's 2:4:10 contemporary dance program- an evening of works celebrating Maliphant's 10 years as a choreographer 

Musical theatre
2002 to 2010
In Cooper's first venture into the musical theatre he was both the choreographer and actor (playing the lead role of Junior Dolan) in On Your Toes  In 2002 it played at Leicester Haymarket, and was in transferred in 2003 to the Royal Festival in the West End of London  Sarah Wildor joined the production in 2003 to play the role of Vera Baronova  He was lauded by both the critics and the audience for his contributions and was rewarded with the Critics' Circle National Dance Award for Best Choreography and Most Popular Dancer  In 2004 the production also had a successful tour in Japan In 2002 Cooper provided the choreography for the Swedish production of Garbo-the Musical  Cooper also played the lead role of Don Lockwood and choreographed Paul Kerryson's Singin' in the Rain in 2004 at Sadler's Wells Theatre, Leicester Haymarket, and was nominated for Critic's Circle Award for Choreography of a Musical  He was nominated for a Laurence Olivier Award for his choreography of the 2004 Grand Hotel for The Donmar Warehouse  The production won the 2005 Olivier Award in the category of Outstanding Musical Production In 2005, Cooper and Wildor performed a two-person play, Wallflowering, at the Seven Oaks Playhouse  Their roles were primarily dialogue with intermittent bits of ballroom dancing  Following this, he designed the choreography for the revival of Promises, Promises at Sheffield's Crucible Theatre In 2006 Cooper appeared alongside Neil Morrissey and Patrick Swayze playing Sky Masterson in Guys and Dolls at The Piccadilly Theatre, London and in 2007 he provided the musical staging for Side by Side by Sondheim for The Venue Theatre, London 2008 saw Cooper's return to the stage, creating the role of Ramon in Zorro the Musical for the UK tour  He also played the Tin Man in the Royal Festival Hall's summer staging of the musical The Wizard of Oz, after which he turned his attention back to choreography  First, he choreographed Carousel for director Lindsay Posner which had a very successful UK tour and West End run at the Savoy Theatre  Then Cooper was asked by Paul Kerryson to direct and choreograph the first new show, Simply Cinderella, at the brand new Curve Theatre, Leicester In 2009 Cooper unveiled Shall We Dance at Sadler's Wells, an ambitious all-dance show based on Richard Rodgers' songs  For this production he was the box-office star, director, creator, librettist and choreographer  Later that year, he provided choreography for Lindsay Posner's production of the Donizetti opera Roberto Devereux at the Holland Park Theatre, Kensington, London Cooper co-starred in the touring stage version of Irving Berlin's White Christmas during the Christmas season in 2009 2010 and 2011  He played the role of Phil Davis 

2011 to the present
Cooper was the above-the-title star playing the role of Don Lockwood in Jonathan Church's highly successful 2011–2013 production of Singin' in the Rain, with choreography by Andrew Wright  Its first sold-out run was at the Chichester Festival Theatre and then a longer run at West End's Palace Theatre  He also performed the iconic Singin' in the Rain scene on the 2011 Royal Variety Performance TV show  The stage show was nominated for the Best Musical Revival and several other Laurence Olivier and other awards  A cast recording of Singin' in the Rain was issued in 2012  Good Mornin' was performed at the 2012 Olivier Awards Ceremony  The show, starring Cooper, played in Japan for three weeks of November 2014 In 2013 Cooper choreographed Matthew White's well-received production of Candide at the Menier Chocolate Factory  Reviewer Sam Smith wrote "Adam Cooper's choreography is racy, and the production finds a particular affinity with the 'Surrealism' of the piece " In late 2013 Cooper was invited to Denmark to choreograph Daniel Bohr's Danish language version of Evita at the Det Ny Teater (The New Theater) in Copenhagen  The show premiered in January 2014  For Evita, Adam Cooper created a choreography with continuous tango elements merged into the rest of the dance Cooper provided the "energetic" 60's choreography for Sunny Afternoon Musical at the Hampstead Theatre in London  The show ran from April to end of May in 2014 and then in October 2014 it transferred to The Harold Pinter Theatre (formerly The Comedy Theatre) 
at the West End  Its run was extended several times due to its popularity with the audience and positive critical reviews  It was nominated for numerous awards and won 4 Olivier Awards in 2015  Details are at Sunny Afternoon 
Cooper had another opportunity to present a stage version of Les Liaisons dangereuses (Gefährliche Liebschaften) in 2015   He choreographed and co-directed with Josef E  Köpplinger a German musical version of the novel with a newly commissioned book, lyrics and score for the itinerant Staatstheater am Gärtnerplatz company in Munich, Germany 
In 2019, Cooper appeared in the UK Tour of New Adventures' The Red Shoes, playing the role of Boris Lermontov 

Films and TV
The Soldier's Tale (2010) TV Movie (The Soldier)
Bourne to Dance (2001) TV Movie (himself)
Billy Elliot (2000) Arts Council of England, BBC Films, Working Title Films (Billy, Aged 25)
Madame Bovary (2000) TV Movie (Vicomte)
The Sandman (2000) Channel 4 TV Movie
Jason and the Argonauts (2000) Hallmark Entertainment & Panfilm TV Movie (Eros)
Dance Ballerina Dance (1998) BBC2 TV (himself)
Swan Lake (Bourne) (1998) PBS Great Performances TV Series with Adventures in Motion Pictures (Swan/Stranger)
Royal Variety Performance TV Show (1998) Excerpts from Swan Lake (Bourne) (Swan/Stranger)
The South Bank show: Matthew Bourne's Adventures in Motion Pictures (1997) TV Documentary (himself)
Swan Lake (Bourne) (1996) BBC/NVC with Adventures in Motion Pictures (Swan/Stranger)
Mayerling (ballet) (1994) BBC with the Royal Ballet (Hungarian officer)
Gala Tribute to Tchaikovsky (1993) TV Special (Principal Dancer)
Winter Dreams (1992) BBC TV with the Royal Ballet (Staff Captain Vassily Vasilyevich Solyony)
La Bayadère, The Sleeping Beauty (ballet), Winter Gala with Royal Ballet for BBC TV
Prince of the Pagodas (1990) with the Royal Ballet
Merry Wives of Windsor (1982) BBC TV (fairy)

Other
(2000) National Portrait Gallery (London), portrait of Adam Cooper by Stuart Pearson Wrightoil on gesso on oak panel, NPG 6542
(2014) Imperial Classical Ballet Faculty Patrons, Adam Cooper and Sarah Wildor

Awards
(1988) Ursula Moreton Choreographic Competition
(1989) Professional Level Prize @ Prix de Lausanne
(1996) Time Out Award for Best Performance in AMP's Swan Lake
(1997) Evening Standard Award for his performance as The Swan in AMP's Swan Lake
(1997) Drama League Award for Best Performance as The Swan in AMP's Swan Lake (Los Angeles Season)
(1999) Astaire Award for outstanding Male Dancer for his performance as The Swan in AMP's Swan Lake
(1999) Nominated for Best Actor in a Musical Tony Award for the Broadway Season of Swan Lake
(2002) Nominated for Best Male Dancer by the Critics' Circle National Dance Awards for his performances with the Royal Ballet and On Your Toes 
(2003) Critics' Circle National Dance Awards for Best Choreography for On Your Toes
(2003) Critics' Circle National Dance Awards for Most Popular Dancer 
(2003) Nominated for Whatsonstage com Theatregoers' Choice Awards – for Best Choreographer and Best Actor in a Musical for On Your Toes
(2004) Nominated by Critics' Circle National Dance Awards for Best Choreography (Musical Theater) for Singin' in the Rain
(2005) Nominated for What's Onstage Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse 
(2005) Nominated for a Laurence Olivier Award for choreography of the 2004 Grand Hotel for The Donmar Warehouse 
(2013) Nominated for What's Onstage Award as Best Actor in a Musical for Singin in the Rain
Passage 4:
The Nutcracker (1993 film)
The Nutcracker, also known as George Balanchine's The Nutcracker, is a 1993 American Christmas musical film based on Peter Martins's stage production and directed by Emile Ardolino  It stars Darci Kistler, Damian Woetzel, Kyra Nichols, Bart Robinson Cook, Macaulay Culkin, Jessica Lynn Cohen, Wendy Whelan, Margaret Tracey, Gen Horiuchi, Tom Gold, and the New York City Ballet 
The film was released by Warner Bros  under their Warner Bros  Family Entertainment label on November 24, 1993, four days after director Ardolino died  It received mixed reviews and was a box office failure, grossing only $2 million 

Plot
The film follows the traditional plot of the Nutcracker 

Act I
Scene 1: The Stahlbaum Home

It is Christmas Eve  Family and friends have gathered in the parlor to decorate the beautiful Christmas tree in preparation for the party  Once it is finished, the children are sent for  They stare in awe at it sparkling with candles and decorations 
The party begins  A march is played  Presents are given out to the children  Suddenly, as the owl-topped grandmother clock strikes eight, a mysterious figure enters the room  It is Herr Drosselmeyer, a local councilman, magician, and Marie's godfather  He is also a talented toymaker who has brought gifts for the children, including four lifelike dolls who dance to the delight of all  He then has them put away for safekeeping 
Marie and her brother, Fritz, are sad to see the dolls being taken away, but Drosselmeyer has yet another toy for them: a wooden nutcracker carved in the shape of a little man  The other children ignore it, but Marie immediately takes a liking to it



ground_truth: Albert Park

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Whiich genus has more species, Dracula or Pistacia?

The following are given passages.
Context 2:  ], yet the two are very different trees to any but the most superficial observation  (The Hebrew word alon means 'oak', and the words may be related ) 
The word terebinth is found in three successive chapters of Genesis (12:6, 13:18, 14:13, 18:1) in reference to the places where Abram (later Abraham) camped called "Terebinths of Mam're the Amorite"  Here, the traditional rendering in English is "oaks of Mamre "
It is also found in Genesis chapter 35, where Jacob commands his family to remove idols that were taken as booty from the battle in Shechem before travelling to Bethel 
Terebinths are also found in Isaiah in possible reference to idolatry associated with the trees, although in the Septuagint and Vulgate the word is translated 'idols', as the plural of el )

For you will be ashamed of the terebinths that you have taken pleasure in 
The best known clear reference to a terebinth (elah) in the Hebrew Scriptures is that of the Valley of Elah or 'Valley of the Terebinth' (עמק האלה), where David fought Goliath (1 Samuel 17:2, 17:19) 
Later in 2 Samuel 18:9 David's rebellious son Absalom is caught in the terebinth tree and is killed by Joab's men, David's army 
At least a few references occur in Judges: chapter 4 (in reference to Heber, the Kenite, of the children of Hobab), chapter 6 (in reference to an angel of the Lord who came to visit Gideon—most versions use 'oak'), and Ch 9 (in reference to the crowning of Abimelech, by the terebinth of the pillar that was in Shechem—again most versions use 'oak')  This reference of Abimelech's crowning by an oak is actually referring to the Palestine oak, closely related to the Kermes oak (Quercus coccifera)  The Hebrew distinguishes the Palestine oak and the terebinth  It is also mentioned in Hosea 4:13 when Hosea is talking about Israel's spiritual adultery by sacrificing to false gods and how to repent and be forgiven in Hosea 14 

Uses
The word "turpentine" was originally used for the exudate of terebinth trees (P  terebinthus and related species such as P  atlantica), now called Chian, Chios, or Cyprian turpentine, and it was later transferred to the crude turpentine (oleoresin) and the oil of turpentine (essential oil) of conifer trees  The word turpentine derives (via Old French and Latin) from the Greek word τερεβινθίνη (terebinthínē), the feminine form (to go with the feminine Greek word for resin) of an adjective τερεβίνθινος (terebínthinos), derived from the Greek noun τερέβινθος (terébinthos), the name for the terebinth tree  However, the main source of the terebinth turpentine is P  atlantica which produces abundant resin instead of P  terebinthus of which the amount of resin is limited The fruits are used in Cyprus for baking of a specialty village bread  In Crete, where the plant is called tsikoudia, it is used to flavor the local variety of pomace brandy, also called tsikoudia  In the Northern Sporades the shoots are used as a vegetable (called tsitsíravla)  The plant is rich in tannins and resinous substances and was used for its aromatic and medicinal properties in classical Greece  A mild sweet scented gum can be produced from the bark, and galls often found on the plant are used for tanning leather  A triterpene has been extracted from these galls  In Turkey, it is known as menengiç or bıttım  A coffee-like beverage, Kurdish coffee or menengiç kahvesi, is made from the roasted fruit, and a soap is made from the oil  Terebinth resin was used as a wine preservative in the entire ancient Near East, as proven by many findings in areas such as the foot of the Zagros Mountains and Middle Bronze Age Galilee 

Gallery
See also
Pistacia lentiscus
Mastic (plant resin)
Balm of Gilead
Passage 7:
Pistacia aethiopica
Pistacia aethiopica is an African and Arabia coast peninsula species of plant in the family Anacardiaceae  It is a dioecious evergreen shrub or tree of the pistacio genus, growing up to 20 m (66 ft) tall, adapted to the dry environment  It is found in Ethiopia, Kenya, Somalia, Somaliland, Tanzania, Uganda, and Yemen 

Description
It is an evergreen slow-growing tree that emits a  very intense smell: bitter, resinous or similar to medication  The tree reaches 5–15 m tall, and rarely is a shrub, often with multiple stems, the trunk of 0 6 m in diameter, and its bark color is brown-black and fissured  It has glabrous leathery leaves, with a thick cuticle  The leaves are aromatic, 4-16-18 foliolate, and glossy bright green  The leaves have rachis 10 cm long 
The tree is dioecious, with male and female trees producing different sex flowers  Both types of flowers are small and greenish  It grows slowly, becoming 1000 years old 

Ecology
It is found in dry evergreen forest (often with Juniperus and Olea - Euclea) and associated shrubs or wooded grassland, thickets of Buxus, deciduous with Combretum, Acacia and Barkey in soils of limestone, sandstone, or basalt, to an altitude of 900–2550 m  P  aethiopica have many adaptations to aridity, such as an advanced development of palisade tissue and extensive root growth  These adaptive traits allow species to grow in very harsh and dry areas with low rainfall  In the main part of its range in North and East Africa, the species is fairly common because is used for a variety of purposes, including timber, dye, fodder, agriculture and livestock food  An outlying subpopulation in Arabia is restricted to Jebel Iraf on the old North Yemen-South Yemen border  The species is thought to be extinct in Eritrea 
Passage 8:
Pistacia chinensis
Pistacia chinensis, the Chinese pistache (Chinese: 黄連木; pinyin: huángliánmù), is a small to medium-sized tree in the genus Pistacia in the cashew family Anacardiaceae, native to central and western China  This species is planted as a street tree in temperate areas worldwide due to its attractive fruit and autumn foliage 

Description
It is hardy, can withstand harsh conditions and poor quality soils, and grows up to 20 m (66 ft)  The leaves are deciduous, alternate, pinnate, 20–25 cm long, with 10 or 12 leaflets, the terminal leaflet usually absent  The flowers are produced in panicles 15–20 cm (5 9–7 9 in) long at the ends of the branches; it is dioecious, with separate male and female plants The fruit is a small red drupe, turning blue when ripe, containing a single seed 

Taxonomy
Synonyms include: Pistacia formosana Matsumura; P  philippinensis Merrill & Rolfe; Rhus argyi H  Léveillé; R  gummifera H  Léveillé Some botanists merge Pistacia integerrima into this species as the subspecies P  chinensis ssp  integerrima, with the plants considered here then becoming the subspecies P  chinensis ssp  chinensis 

Distribution and habitat
Its native range is on hill and mountain forests on rocky soils at 100–3,600 m (330–11,810 ft) above sea level  It is found in Mainland China (excluding the far north and the far west) and Taiwan 

Ecology
Chinese pistache grows best in full sun, being intolerant of shade; it is the most frost-tolerant species of Pistacia, tolerating temperatures down to about -25 °C, yet it is most highly regarded in warm climates  It is planted for its impressive fall colors, which develop at least as far south as Orlando, Florida  In the low-elevation deserts of Arizona, it is the only tree whose leaves turn scarlet in fall 

Uses
It is a popular choice for street trees in urban settings because it is very drought tolerant and can survive harsh environments  It is also used as an understock for Pistacia vera  In China, the oil from the seeds is used for biodiesel production  The wood is used for production of furniture, and yields a yellow dye It is also used in classical Chinese garden design 

Gallery
Passage 9:
Dracula (plant)
The orchid genus Dracula, abbreviated as Drac in horticultural trade, consists of 118 species native to Mexico, Central America, Colombia, Ecuador and Peru  The name Dracula literally means "little dragon", an allusion to the mythical Count Dracula, a lead character in numerous vampire novels and films  The name was applied to the orchid because of the blood-red color of several of the species, and the strange aspect of the long spurs of the sepals 
The plants were once included in the genus Masdevallia, but became a separate genus in 1978  This genus has been placed in the subtribe Pleurothallidinae 

Description
They are epiphytic and terrestrial species distributed in Central America and the northwest Andes  Almost half the species are found in Ecuador  They prefer shade and rather cool temperatures 
These caespitose orchids grow in tufts from a short rhizome, with a dense pack of stems  They lack pseudobulbs  On each stem grows one large, thin, plicate leaf with a sharply defined midrib  These glabrous, light to dark green  leaves may be spongy, taking over the function of the missing pseudobulb  They are tipped with a mucro (a short tip) 
The flower stalks grow either horizontally from the base of the plant or descend, often for great distances   A few species grow upright flower stalks   The long-tailed terminal flowers are basically triangular  The flowers are borne singly or successively  Three species (sodiroi, decussata/neisseniae, and papillosa) may have up to three simultaneously open flowers on a single stalk  In general, though, if there is more than one flower bud on the raceme, they open up with long intervals  These flowers have a weird aspect, due to the long tails on each sepal  The petals are small and somewhat thickened  Quite commonly, various species of Dracula are known for blooms resembling the faces of primates, a notable example being Dracula simia  However, this likeness to monkeys’ faces seems to be purely a natural coincidence to the primates living in the same forests  In fact, these flowers are pollinated by the common fungus gnat; the bloom’s lip is often quite large (for a Pleurothallid), and from the fungus gnat’s perspective, resembles an irresistible mushroom or fungus  Research by biologists at the University of Oregon indicates that D  lafleurii also possesses a uniquely volatile chemistry, similar to localized species of mushrooms  This mimicry attracts mushroom-associated flies which play a role in pollination  The basal part of the lip (hypochile) is cleft  The terminal part (epichile) is rounded and concave  The margins of the perianth are often fringed  There is a well-developed column with two pollinia 

Taxonomy
The species of Dracula have tentatively been divided into three subgenera, with sections and subsections within one of the subgenera 

Subgenus Dracula : This subgenus contains all the species of the genus except two exceptional species (D  sodiroi and D  xenos)
Section Andreettaea : Monotypic: Dracula andreettae
Section Chestertonia : two species: Dracula chestertonii, D  cutis-bufonis
Section Cochliopsia : Monotypic: Dracula cochliops
Section Dodsonia : Four species: Dracula dodsonii, D  insolita, D  iricolor, D  portillae
Section Dracula : largest section
Subsection Costatae : e g  Dracula bella, D  vespertilio
Subsection Dracula :
Series Dracula : e g  Dracula chimaera, D  tubeana, D  vampira
Series Grandiflorae-Parvilabiatae : e g  Dracula gigas, D  platycrater
Series Parviflorae : e g  Dracula houtteana, D  lotax
Subgenus Sodiroa : Two Dracula sodiroi, D  erythrocodon
Subgenus Xenosia : Monotypic : Dracula xenosDracula adrianae (Colombia)
Dracula alcithoe (SW  Colombia to NE  Ecuador)
Dracula amaliae (W  Colombia)
Dracula andreettae (W  Colombia to NE  Ecuador)
Dracula anthracina (NW  Colombia)
Dracula antonii (Colombia)
Dracula aphrodes (W  Colombia)
Dracula astuta (Costa Rica)
Dracula barrowii (Peru)
Dracula bella (WC  Colombia)
Dracula bellerophon (W  Colombia)
Dracula benedictii (WC  Colombia)
Dracula berthae (Colombia)
Dracula brangeri (C  Colombia)
Dracula callithrix  (Colombia)
Dracula carcinopsis (W  Colombia)
Dracula carlueri (Costa Rica)
Dracula chestertonii (W  Colombia)
Dracula chimaera (W  Colombia)
Dracula chiroptera (SW  Colombia to NE  Ecuador)
Dracula christineana (Ecuador)
Dracula circe (Colombia)
Dracula citrina (Colombia)
Dracula cochliops (SW  Colombia)
Dracula cordobae (SW  Ecuador)
Dracula cutis-bufonis (NW  Colombia)
Dracula dalessandroi (SE  Ecuador)
Dracula dalstroemii (NW  Ecuador)
Dracula decussata (Colombia)
Dracula deltoidea (SE  Ecuador)
Dracula deniseana (Peru)
Dracula diabola (Colombia)
Dracula diana (W  Colombia)
Dracula dodsonii (Colombia to NC  Ecuador)
Dracula erythrochaete (Costa Rica to W  Panama)
Dracula erythrocodon (Ecuador)
Dracula exasperata ( SW  Colombia)
Dracula fafnir (SE  Ecuador)
Dracula felix (SW  Colombia to NW  Ecuador)
Dracula fuligifera (C  Ecuador)
Dracula gastrophora (Ecuador)
Dracula gigas (W  Colombia to NW  Ecuador)
Dracula gorgona (W  Colombia)
Dracula gorgonella (Colombia)
Dracula hawleyi (NW  Ecuador)
Dracula hirsuta (SE  Ecuador)
Dracula hirtzii (SW  Colombia to NW  Ecuador)
Dracula houtteana (Colombia)
Dracula immunda (Panama)
Dracula inaequalis (W  Colombia)
Dracula incognita (Colombia)
Dracula inexperata (Costa Rica)
Dracula insolita (W  Colombia)
Dracula janetiae (C  Peru)
Dracula kareniae (Ecuador)
Dracula lafleurii (NW  Ecuador)
Dracula lehmanniana (SW  Colombia)
Dracula lemurella (Colombia)
Dracula leonum (Peru)
Dracula levii (SW  Colombia to NW  Ecuador)
Dracula ligiae (Colombia)
Dracula lindstroemii (NW  Ecuador)
Dracula lotax (Ecuador)
Dracula mantissa (SW  Colombia to NW  Ecuador)
Dracula marsupialis (NW  Ecuador)
Dracula mendozae Luer & V N M Rao (Ecuador)
Dracula minax (Colombia)
Dracula mopsus (Ecuador)
Dracula morleyi (NW  Ecuador)
Dracula navarrorum (Ecuador)
Dracula nigritella (Ecuador)
Dracula nosferatu (Colombia)
Dracula nycterina (Colombia)
Dracula octavioi (SW  Colombia)
Dracula olmosii (Panama)
Dracula ophioceps (SW  Colombia)
Dracula orientalis (NE  Colombia)
Dracula ortiziana (W  Colombia)
Dracula papillosa (NW  Ecuador)
Dracula pholeodytes (NE  Colombia)
Dracula pileus (W  Colombia)
Dracula platycrater (Colombia)
Dracula polyphemus (NW  Ecuador)
Dracula portillae (SE  Ecuador)
Dracula posadarum (Colombia)
Dracula presbys (Colombia)
Dracula psittacina (Colombia)
Dracula psyche (NW  Ecuador)
Dracula pubescens (Ecuador)
Dracula pusilla (SE  Mexico to C  America)
Dracula radiella (NW  Ecuador)
Dracula radiosa (E  Colombia to NW  Ecuador)
Dracula rezekiana (Ecuador)
Dracula ripleyana (Costa Rica)
Dracula robledorum (Colombia)
Dracula rojasii (Colombia)
Dracula roezlii (W  Colombia)
Dracula saulii (Peru)
Dracula schudelii (Ecuador)
Dracula senex-furens(Colombia)
Dracula sergioi (Colombia)
Dracula severa (NW  Colombia)
Dracula sibundoyensis (SW  Colombia to NW  Ecuador)
Dracula sijmii (Ecuador)
Dracula simia (SE  Ecuador)
Dracula sodiroi (Ecuador)
Dracula syndactyla (SW  Colombia)
Dracula terborchii (Ecuador)
Dracula trichroma (W  Colombia to NW  Ecuador)
Dracula trinympharum (NW  Ecuador)
Dracula tsubotae (Colombia)
Dracula tubeana (Ecuador)
Dracula ubangina (Ecuador)
Dracula vampira (Ecuador)
Dracula veliziana (Colombia)
Dracula velutina (NW  Colombia)
Dracula venefica (W  Colombia)
Dracula venosa (W  Colombia to NW  Ecuador)
Dracula verticulosa (W  Colombia)
Dracula vespertilio (Nicaragua to NW  Ecuador)
Dracula villegasii (Colombia)
Dracula vinacea (NE  Colombia)
Dracula vlad-tepes (NE  Colombia)
Dracula wallisii (W  Colombia)
Dracula woolwardiae (Ecuador)
Dracula xenos (Colombia)

Hybrids
Dracula × anicula (D  cutis-bufonis × D  wallisii) (Colombia) 
Dracula × radiosyndactyla (D  radiosa × D  syndactyla) (SW  Colombia) 

Footnote
Passage 10:
Pistacia khinjuk
Pistacia khinjuk is a species of plant in the family Anacardiaceae native to Egypt, western Asia and parts of the Himalayas  The tree grows up to 10 metres  The epithet comes from the name for the plant in Balochistan, khinjuk (خنجک) 
Context 3:  Fritz, however, breaks it, and she is heartbroken 
During the night, after everyone else has gone to bed, Marie returns to the parlor to check on her beloved nutcracker  As she reaches the little bed she put it on, the clock strikes midnight and she looks up to see Drosselmeyer perched atop it  Suddenly, mice begin to fill the room and the Christmas tree begins to grow to dizzying heights  The nutcracker also grows to life size  Marie finds herself in the midst of a battle between an army of gingerbread soldiers and the mice, led by their king  They begin to eat the soldiers 
The nutcracker appears to lead the soldiers, who are joined by tin soldiers, and dolls who serve as doctors to carry away the wounded  As the Mouse King advances on the still-wounded nutcracker, Marie throws her slipper at him, distracting him long enough for the nutcracker to stab him Scene 2: A Pine Forest
The mice retreat and the nutcracker is transformed into a handsome Prince  He leads Marie through the moonlit night to a pine forest in which the snowflakes come to life and dance around them, beckoning them on to his kingdom as the first act ends 

Act II
Scene 1: The Land of Sweets

Marie and the Prince travel to the beautiful Land of Sweets, ruled by the Sugar Plum Fairy in the Prince's place until his return  He recounts for her how he had been saved from the Mouse King by Marie and transformed back into himself 
In honor of the young heroine, a celebration of sweets from around the world is produced: chocolate from Spain, coffee from Arabia, tea from China, and candy canes from Russia all dance for their amusement; Danish shepherdesses perform on their flutes; Mother Ginger has her children, the Polichinelles, emerge from under her enormous hoop skirt to dance; a string of beautiful flowers perform a waltz  To conclude the night, the Sugar Plum Fairy and her Cavalier perform a dance A final waltz is performed by all the sweets, after which the Sugar Plum Fairy ushers Marie and the Prince down from their throne  He bows to her, she kisses Marie goodbye, and leads them to a reindeer-drawn sleigh  It takes off as they wave goodbye to all the subjects who wave back 

Cast
Darci Kistler as The Sugar Plum Fairy
Damian Woetzel as The Sugar Plum Fairy's Cavalier
Kyra Nichols as Dewdrop
Wendy Whelan as Coffee
Margaret Tracey as Marzipan
Gen Horiuchi as Tea
Tom Gold as Candy Cane
Lourdes López as Hot Chocolate
Nilas Martins as Hot Chocolate
William Otto as Mother Ginger
Peter Reznick as Fritz
Karin von Aroldingen as Grandparent
Edward Bigelow as Grandparent
Heather Watts as Frau Stahlbaum
Robert LaFosse as Dr  Stahlbaum
Bart Robinson Cook as Herr Drosselmeyer
Jessica Lynn Cohen as Marie Stahlbaum
Macaulay Culkin as The Nutcracker/Prince/Drosselmeyer's Nephew
Kevin Kline as Narrator
Katrina Killian as Harlequin
Roma Sosenko as Columbine
Michael Byars as Soldier
Robert D  Lyon as Mouse King
Maureen C  McFadden Devlin as Drummer

Reception
Critical response
The film received generally mixed reviews from critics  Based on eight reviews, it holds a rotten rating of 50% on review aggregator Rotten Tomatoes, with an average rating of 6/10  The film was criticized by James Berardinelli for not capturing the excitement of a live performance; he wrote that it "opts to present a relatively mundane version of the stage production   utilizing almost none of the advantages offered by the (film) medium " Roger Ebert of the Chicago Sun-Times was mixed on it, and gave it 2 out of 4 stars criticizing it for not adapting the dance for a film audience and also its casting of Culkin who, he writes, "seems peripheral to all of the action, sort of like a celebrity guest or visiting royalty, nodding benevolently from the corners of shots " In The Washington Post, Lucy Linfield echoed Ebert's criticism of Culkin, stating that "it's not so much that he can't act or dance; more important, the kid seems to have forgotten how to smile   all little Mac can muster is a surly grimace " She praised the dancing, however, as "strong, fresh and in perfect sync" and Kistler's Sugar Plum Fairy as "the Balanchinean ideal of a romantic, seemingly fragile beauty combined with a technique of almost startling strength, speed and knifelike precision " The New York Times' Stephen Holden also criticized Culkin, calling his performance the film's "only serious flaw", but praised the cinematography as "very scrupulous in the way it establishes a mood of participatory excitement, then draws back far enough so that the classic ballet sequences choreographed by Balanchine and staged by Peter Martins can be seen in their full glory "

Box office
During its theatrical run, the film grossed $2,119,994  In North America, it opened at number 16 in its first weekend with $783,721 

See also
List of Christmas films
Passage 5:
Dennis Courtney
Dennis H  Beaulne (born April 30, 1958), better known by his stage name Dennis Courtney, is an American stage director, choreographer, actor and teacher of master classes in auditioning for the theatre  As a director, he is notable for winning the 2008 Israeli National Theatre Prize (Israel's TONY Award equivalent) for his work in the Cameri Theatre production of Fiddler On The Roof, in Tel Aviv  The production closed on January 27, 2016 after a near 8-year run  As an actor, he made his Broadway debut in the 1979 production of Peter Pan with Sandy Duncan and George Rose  Subsequent Broadway/National Tour/Production credits include Shenandoah with John Raitt (1984), Joseph And The Amazing Technicolor Dreamcoat (1984), Roza (1987) and Starlight Express (1989-1990)  He directed and choreographed a production of My Way, for the Riverside Center Theatre in Virginia and It Shoulda Been You starring Kim Zimmer and 8 Track: The Sounds of the 70's for Gretna Theatre in July and August 2016  In early 2017, he directed and choreographed Kiss Me, Kate at Kent State  In March 2017 he directed the pre-Broadway workshop production of The Last Adam, a new musical by George Alex Livings and Jonathan Hickey  He has collaborated with playwright David Brian Colbert on a new play with music about the life of legendary performer, Ethel Waters, entitled Still Waters: The Life of the Legendary Ethel Waters  The play is currently in development 

Personal life
Born Denis Beaulne in Detroit, Michigan to French Canadian parents, Albert Beaulne and Claudette Perron   He took the stage name Dennis Courtney with his first union acting job in 1978   Courtney has 2 siblings - a sister, Rachelle Beaulne McKevlin and a brother, Raymond Beaulne   He also has a step-sister, Lori Hurren Harrell and a step-brother, William Hurren  Dennis' parents divorced in 1967 and both remarried   His mother married Harry Parr and his father married Anna Pasternacki   Harry Parr died in 1986, Anna Pasternacki Beaulne died on December 5, 2011  Albert Beaulne is currently living in Cornelius, NC   Dennis' mother, Claudette, died on June 6, 2010  Dennis has been in a long term relationship with entrepreneur, Grant Wheaton, since 2000  Dennis and Grant became engaged on Christmas Day 2016 and married on July 29, 2017 
He graduated from Anderson High School in Cincinnati, Ohio and studied theatre at the University of Cincinnati   He currently resides in New York City and has homes in Sarasota, Florida and Palm Desert, California 

Notes
External links
Official Website - http://www denniscourtney com
Dennis Courtney (http://ibdb com/person php?id=92973) at the Internet Broadway Database
Dennis Courtney (http://www broadwayworld com/people/Dennis-Courtney/#) at BroadwayWorld com
Passage 6:
Stephen Nicholas (actor)
Stephen Charles Nicholas (born 23 August 1978)  music artist and presenter from Doncaster, South Yorkshire, England 
As an actor Stephens first role was on Sky One's Dream Team, where he played Scott Ward  From there, he filmed the first in the trilogy Goal! (In which he played a Newcastle United Reserves player)  Following this, he moved to Los Angeles, where he played Smith in the feature film Futbaal: The Price of Dreams 
Stephen then returned to the UK to make a Bollywood film called Dhana Dhana Goal with John Abraham 
Stephen then experienced her first opportunity in reality TV with the show Premier League All Stars for Sky One, as well as playing a footballer, he was on-hand to present celebrity gossip and pitch side reports 
He then appeared in Celebrity Most Haunted and Date the Enemy  From there he then went on to star in Goal 3 where he not only acted in the film he also became the football choreographer and choreographed all the football scenes in the film 
Nicholas then starred in the film Damned United where he played Welsh international Alan Durban, the film was filmed in Chesterfield and Leeds and was directed by Oscar winner Tom Hooper and also starred Oscar nominated Michael Sheen 
Stephens next production was the feature film called 'No Way Back Now'about the notorious Manchester district of Moss Side, where Stephen played the lead actor Stuart Gavin  The feature is roughly based on the notorious Gooch gang that terrorised Manchester throughout the years 
The next move for Stephen was pantomime where he was part of the production Aladdin over the Christmas period of 2015 in Doncaster playing Abanaza the main villain which he did until 7 January 2016! 
He Was also in the Feature Film 'Whiteblade' where he will played Thurstan the head Warlord Whiteblade Stephen shot his scenes in August 2016 
In September 2016 Stephen presenting the Sky TV show 'Britz go Bollywood' the show consists of a group of Celebrities being dressed by The best Indian designers, stephen was the main presenter of the show 

Music
Nicholas instigated and was part of a group called U K  Flow  The group was made up of 14 celebrities from television and sport 

Football
Nicholas was a Sunday league footballer at various clubs

Filmography
External links
Official Site
Stephen Nicholas at IMDb
Passage 7:
The Nutcracker (Balanchine)
Choreographer George Balanchine's production of Tchaikovsky's 1892 ballet The Nutcracker has become the most famous stage production of the ballet performed in the U S  (Mikhail Baryshnikov's production is the most famous television version, although it too originated onstage ) It uses the plot of the Alexandre Dumas, père, version of E T A  Hoffmann's tale, "The Nutcracker and the Mouse King" (1816)  Its premiere took place on February 2, 1954, at City Center, New York, with costumes by Karinska and sets by Horace Armistead  It has been staged in New York every year since 1954, and many other productions throughout the United States either imitate it, or directly use the Balanchine staging  However, although it is often cited as being the production that made the ballet famous in the U S , it was Willam Christensen's 1944 production for the San Francisco Ballet which first introduced the complete work to the United States 

Staging
In Balanchine's version, the leading roles of Clara (here called Marie) and the Nutcracker/Prince are danced by children, and so their dances are choreographed to be less difficult than the ones performed by the adults  Marie does not dance at all in the second act of this version  The Prince's dancing in Act II is limited to the pantomime that he performs "describing" his defeat of the Mouse King  Instead, Marie and the Prince sit out nearly all of Act II watching other dancers perform for them, and unlike most other versions, neither one of them takes part in the ballet's Final Waltz 
Because Marie and the Nutcracker / Prince are played by children approximately ten years old in the Balanchine Nutcracker, no adult romantic interest between them is even implied, although Marie and Drosselmeyer's nephew, who looks exactly like the Prince, are clearly drawn to each other during the Christmas party  However, the 1958 Playhouse 90 telecast of the Balanchine Nutcracker, which changed Marie's name back to Clara and stated that the Prince was Drosselmeyer's nephew, had narrator June Lockhart saying at the end that "From that day on, Drosselmeyer's nephew is Clara's Prince and Clara is his Princess, and I need not tell you that they lived happily ever after " (But Drosselmeyer's nephew is there when the Nutcracker is broken during the Christmas party, so it is difficult to believe that he is the Nutcracker/ Prince, unless Marie dreams her fantasy adventures, and it is unclear in this version whether she does or not ) Years later, movie critic Stephen Holden, in reviewing the 1993 film version of the Balanchine Nutcracker, referred to Marie as the Prince's sweetheart  And oddly enough, throughout Act II of the 1993 film of Balanchine's version, Marie does wear a veil that resembles a bridal veil 
The Balanchine version uses perhaps more real children than any other version  (In other versions, the children are sometimes played by adult women ) The rôles of Clara and the Nutcracker/ Prince are performed by adults in many other versions, and in these productions of the ballet, there is usually more than a hint of budding romance between the two 
The Journey Through the Snow sequence, in many other productions danced by Clara and the Nutcracker immediately after his transformation into a Prince, is not danced at all in the Balanchine version, although the music is played  Instead, Marie faints and falls on the bed after the battle, and the Nutcracker exits  Marie's bed moves by itself across the stage as the music plays, and at its climax, the Nutcracker reappears and through the use of a stage effect, turns into a Prince  He awakens Marie, places on her head one of the crowns that he took from the dead seven-headed Mouse King, and they exit  (In the 1993 film of Balanchine's Nutcracker, the bed flies through the air rather than simply moving across the stage  This is achieved by visual effects created by Industrial Light & Magic )

On the screen
Balanchine's Nutcracker has since been staged in New York every year, filmed once, and performed live on television three times – although its first television edition, telecast by CBS in 1957 on the TV anthology The Seven Lively Arts, was severely abridged  Some sources say it was complete, but it could not have been because The Seven Lively Arts was only an hour long  This marked the first telecast not only of the Balanchine version but of any staging of the ballet  CBS's Playhouse 90 broadcast a more complete (but still abridged) version of the Balanchine Nutcracker, narrated by actress June Lockhart, who was then starring as the mother in CBS's Lassie, on Christmas Day in 1958; it was the first Nutcracker (and only installment of the entire Playhouse 90 series) broadcast in color  There were only four commercial breaks  This television production starred Balanchine himself as Drosselmeyer, Diana Adams as the Sugar Plum Fairy, Bonnie Bedelia in an early role as Clara, and Robert Maiorano as the Nutcracker/ Prince Excerpts from the Balanchine production were performed several times on various television shows of the time, notably The Bell Telephone Hour and The Ed Sullivan Show The complete Balanchine version was eventually made into a poorly received full-length feature film by Elektra Entertainment and Regency Enterprises  It was distributed and released by Warner Bros  Family Entertainment in 1993, and starred Macaulay Culkin in his only screen ballet rôle, as the Nutcracker, the Prince, and Drosselmeyer's nephew  The film was directed by Emile Ardolino, with narration spoken by Kevin Kline  From the billing in this film, the Prince and the nephew would seem to be two different characters, though that may not have been what the filmmakers intended  Director Ardolino died of AIDS only a few days before the film's release  The other rôles in the film were played by members of the New York City Ballet, including Darci Kistler as the Sugar Plum Fairy, Damian Woetzel as the Fairy's Cavalier, Bart Cook as Drosselmeyer, Jessica Lynn Cohen as Marie (a k a  Clara), and Wendy Whelan as Coffee in the Arabian Dance During the 2011 Christmas season, PBS, for the very first time, presented the complete Balanchine Nutcracker on Live from Lincoln Center, although it was not seen on all PBS affiliates, since the affiliates have a choice of which programs they will air locally  This was not the 1993 film, but the production's latest revival, and the production was telecast by PBS on December 14, 2011  This presentation, directed by Alan Skog, marked the first U S  telecast of the Balanchine version (aside from cable and "on demand" showings of the 1993 theatrical film) in more than fifty years  It was nominated for an Emmy Award in July 2012 

Casts
Original
NYCB revivals
Television
(1958)

Television
(2011)

Theatrical Film Version
(1993)

Music
Balanchine adds to Tchaikovsky's score an entr'acte that the composer wrote for Act II of The Sleeping Beauty, but which is now seldom played in productions of that ballet  In Balanchine's Nutcracker, it is used as a transition between the departure of the guests and the battle with the mice  During this transition, the mother of Marie (as she is usually called in this version) appears in the living room and throws a blanket over the girl, who has crept downstairs and fallen asleep on the sofa; then Drosselmeyer appears, repairs the Nutcracker, and binds the jaw with a handkerchief  In addition, the Dance Of The Sugar Plum Fairy is moved from near the end of Act II to near the beginning of the second act, just after the Sugar Plum Fairy makes her first appearance  To help the musical transition, the tarantella that comes before the dance is cut  In the 1993 film version of the Balanchine version, just as in the telecast of the Baryshnikov one, the Miniature Overture is cut in half, and the opening credits are seen as the overture is heard  The film's final credits feature a reprise of the Trepak and the Waltz of the Flowers 

Footnotes
External links
George Balanchine’s The Nutcracker at the Balanchine Trust website
Passage 8:
Darci Kistler
Darci Kistler (born June 4, 1964) is an American ballerina   She is often said to be the last muse for choreographer George Balanchine 

Early life
Kistler was born in Riverside, California, the fifth child (with four older brothers) of a medical doctor and his wife   Her brothers excelled in amateur wrestling, and she followed them into water-skiing, basketball, football and horseback riding 

Ballet career
At age 4, Kistler received her first tutu and began ballet training that same year  She claimed although she was always athletic, she could never keep to her brothers—so ballet turned out to be one cornerstone she had mastered  After seeing a ballet performance of Rudolf Nureyev and Margot Fonteyn, she decided she wanted to take up ballet herself  She studied with Mary Lynn at Mary Lynn's Ballet Arts and later with Irina Kosmovska in Los Angeles 
In early 1979, Kistler was selected to study at New York City Ballet's School of American Ballet (SAB), where she met George Balanchine  She joined the New York City Ballet (NYCB) corps de ballet in 1980, and was featured in a Time article before the end of the year Kistler was promoted to (NYCB) soloist in 1981 and principal dancer in 1982, the youngest ever at 17 years  Signature roles include Balanchine's Jewels (Diamonds), Agon, Prodigal Son and Symphony in C  She danced the rôle of the Sugarplum Fairy in City Ballet's 1993 film version of The Nutcracker  She eventually wrote her own autobiography "Ballerina: My Story" as a children's book 
Kistler joined the SAB's permanent faculty in 1994 
Throughout her career, she had numerous dance-related injuries, including a broken ankle that sidelined her for three years  She went through several surgeries, including for her back In February 2009, Kistler announced her retirement from New York City Ballet at the end of the 2010 season  Her farewell performance took place on June 27, 2010, and consisted of ballets choreographed by Balanchine and Martins:

Personal life
Kistler married New York City Ballet's balletmaster-in-chief Peter Martins in 1991  In July 1992, Martins was arrested and held for five hours after Kistler phoned the police for help  Kistler filed an affidavit accusing him of assaulting her, pushing and slapping her, and cutting and bruising her arms and legs, leading to a charge of third-degree assault (a misdemeanor)  Kistler dropped the charges a few days later, saying she preferred to resolve the matter without the court's intervention  When she next performed in a ballet two days later, she reportedly wore heavy makeup to conceal bruises she had suffered  Several people who knew the two well claimed it wasn't the first time Martins had hit Kistler Kistler and Martins have one daughter, Talicia Tove Martins, born June 13, 1996 

Jerome Robbins
Ulysses Dove
Red Angels

Robert La Fosse
Danses de Cour

Peter Martins
Featured roles
George Balanchine
Jerome Robbins
Peter Martins
Television
PBS Dance in America
Bournonville Dances William Tell pas de deux
Serenade
PBS Kennedy Center Honors tribute to Alexandra Danilova
Swan Lake pas de deux
PBS Dance in America The Balanchine Celebration
PBS Live from Lincoln Center New York City Ballet's Diamond Project: Ten Years of New Choreography, 2002
Them Twos
PBS Live from Lincoln Center Lincoln Center Celebrates Balanchine 100, 2004
Liebeslieder Walzer
Passage 9:
Gwen Verdon
Gwyneth Evelyn "Gwen" Verdon (January 13, 1925 – October 18, 2000) was an American actress and dancer  She won four Tony Awards for her musical comedy performances, and served as an uncredited choreographer's assistant and specialty dance coach for theater and film  Verdon was a critically acclaimed performer on Broadway in the 1950s, 1960s, and 1970s, having originated many roles in musicals, including Lola in Damn Yankees, the title character in Sweet Charity and Roxie Hart in Chicago  She is also strongly identified with her second husband, director-choreographer Bob Fosse, remembered as the dancer-collaborator-muse for whom he choreographed much of his work and as the guardian of his legacy after his death 

Early life
Verdon was born in Culver City, California, the second child of Gertrude Lilian (née Standring) and Joseph William Verdon, British immigrants to the United States by way of Canada  Her brother was William Farrell Verdon  Her father was an electrician at MGM Studios, and her mother was a former vaudevillian of the Denishawn dance troupe, as well as a dance teacher As a toddler, she suffered from rickets, which left her legs so badly misshapen she was called "Gimpy" by other children and spent her early years in orthopedic boots and rigid leg braces  At age three, her mother enrolled her in dance classes  Further ballet training strengthened her legs and improved her carriage 
By age six, she was dancing on stage  She went on to study multiple dance forms, ranging from tap, jazz, ballroom and flamenco to Balinese  She also studied juggling  At age 11, she appeared as a solo ballerina in the musical romance film The King Steps Out (1936), directed by Josef von Sternberg and starring Grace Moore and Franchot Tone  She attended Hamilton High School in Los Angeles and studied under ballet enthusiast Ernest Belcher  While in high school, she was cast in a revival of Show Boat 
In 1942, Verdon's parents asked her to marry family friend and tabloid reporter James Henaghan after he got her pregnant at 17 years old, and she quit her dancing career to raise their child  In 1945, she appeared as a dancer in the movie musical Blonde From Brooklyn  After her divorce, she entrusted her son Jimmy to the care of her parents 

Career
Early on, Verdon found a job as assistant to choreographer Jack Cole, whose work was respected by both Broadway and Hollywood movie studios  During her five-year employment with Cole, she took small roles in movie musicals as a "specialty dancer"  She also taught dance to stars such as Jane Russell, Fernando Lamas, Lana Turner, Rita Hayworth, Betty Grable and Marilyn Monroe 
Verdon started out on Broadway going from one chorus line to another  Her breakthrough role finally came when choreographer Michael Kidd cast her as the second female lead in Cole Porter's musical Can-Can (1953), starring French prima donna Lilo  Out-of-town reviewers hailed Verdon's interpretation of Eve in the Garden of Eden ballet as a performance that upstaged the show's star, who reputedly demanded Verdon's role be cut to only two featured dance numbers  With her role reduced to little more than an ensemble part, Verdon formally announced her intention to quit by the time the show premiered on Broadway  But her opening-night Garden of Eden performance was so well-received that the audience screamed her name until the startled actress was brought from her dressing room in a towel to take a curtain call  Verdon received a pay increase and her first Tony Award for her performance 
Verdon's biggest critical and commercial success was her following show, George Abbott's Damn Yankees (1955), based on the novel The Year the Yankees Lost the Pennant  The musical ran for 1,019 performances  Verdon won another Tony and went to Hollywood to repeat her role in the 1958 movie version Damn Yankees, famously singing "Whatever Lola Wants"  (Fosse can be seen partnered with her in the original mambo duet "Who's Got the Pain" )
Verdon won another Tony for her performance in the musical New Girl in Town as a hard-luck girl fleeing from her past as a prostitute  She won her fourth Tony for the murder-mystery musical Redhead, Fosse's Broadway debut as a director/choreographer  In 1960, Fosse and Verdon wed 
In 1966, Verdon returned to the stage in the role of Charity in Sweet Charity, which like many of her earlier Broadway triumphs was choreographed and directed by husband Fosse  The show is loosely based on Federico Fellini's screenplay for Nights of Cabiria  It was followed by a movie version starring  Shirley MacLaine as Charity, featuring Ricardo Montalbán, Sammy Davis Jr  and Chita Rivera, with Fosse at the helm of his very first film as director and choreographer  Verdon helped with the choreography  The numbers include the famed "Big Spender", "Rhythm of Life", "If My Friends Could See Me Now", and "I'm a Brass Band"  Verdon also traveled to Berlin to help Fosse with Cabaret, the musical film for which he won an Oscar for Best Director 
Although estranged as a couple, Verdon and Fosse continued to collaborate on projects such as the musical Chicago (1975) (in which she originated the role of murderess Roxie Hart) and the musical Dancin' (1978), as well as Fosse's autobiographical movie All That Jazz (1979)  The helpmate/peer played by Leland Palmer in that film is based on the role Verdon played in Fosse's real life   She also developed a close working relationship with Fosse's partner, Broadway dancer Ann Reinking, and was an instructor for Reinking's musical theatre classes 
After originating the role of Roxie opposite Chita Rivera's Velma Kelly in Chicago, Verdon focused on film acting, playing character roles in movies such as The Cotton Club (1984), Cocoon (1985) and Cocoon: The Return (1988)  She continued to teach dance and musical theater and to act  She received three Emmy Award nominations for appearances on Magnum, P I  (1988), Dream On (1993) and Homicide: Life on the Street (1993)  Verdon appeared as the title character's mother in the Woody Allen movie Alice (1990) and as Ruth in Marvin's Room (1996), co-starring Meryl Streep, Diane Keaton, and Leonardo DiCaprio  In 1999, Verdon served as artistic consultant on a Broadway musical designed to showcase examples of classic Fosse choreography   Called simply Fosse, the revue was conceived and directed by Richard Maltby Jr  and Ann Reinking and choreographed by Reinking and Chet Walker  Verdon's daughter Nicole received a "special thanks" credit  The show won a Tony Award for Best Musical 
In 1997 Verdon appeared in an episode of Walker Texas Ranger as Maisie Whitman  She reprised the role in 1999 
Verdon played Alora in the movie Walking Across Egypt (1999) and appeared in the film Bruno, released in 2000  Verdon received a total of four Tonys, for best featured actress for Can-Can (1953) and best leading actress for Damn Yankees (1955), New Girl in Town (1957) and Redhead (1959)  She also won a Grammy Award for the cast recording of Redhead Verdon was inducted into the American Theater Hall of Fame in 1981  In 1998, she was awarded the National Medal of Arts 

Personal life
Verdon was married twice and had two children  She married tabloid reporter James Archibald Henaghan in 1942  They had a son, Jim, the following year and divorced in 1947  In 1960, Verdon married choreographer Bob Fosse  They had a daughter, Nicole, in 1963  Fosse's extramarital affairs put a strain on their marriage, and by 1971, Verdon and Fosse were separated, but never divorced  She was involved in relationships with actor Scott Brady and actor Jerry Lanning, son of Roberta Sherwood  Verdon was with Fosse when he suffered a fatal heart attack at the Willard Hotel in Washington, D C , in September 1987 Verdon was a cat fancier, having up to six cats at one time, with the pets carrying names such as "Feets Fosse", "Junie Moon", and "Tidbits Tumbler Fosse" Verdon was a mental health-care advocate; later in life, she openly spoke about the positive effects of mental-health counseling  Along with teaching dance as a form of therapy, she sat on the board of directors for the New York Postgraduate Center for Mental Health, and actively raised funds to support mental health-care research 

Popular culture
Fosse/Verdon is an 8-part American miniseries starring Sam Rockwell as Fosse and Michelle Williams as Verdon  The series, which tells the story of the couple's troubled personal and professional relationship, is based on the biography Fosse by Sam Wasson  It premiered in eight parts on April 9, 2019, on FX  At the 71st Primetime Emmy Awards, Fosse/Verdon received seventeen nominations, including Outstanding Limited Series and acting nominations for Rockwell, Williams, and Margaret Qualley (as Ann Reinking)  Williams won the Emmy for Outstanding Actress in a Limited Series 

Death and legacy
Verdon died from a heart attack on October 18, 2000, aged 75, at her daughter's home in Woodstock, Vermont  Later that night, at 8 pm, all marquee lights on Broadway were dimmed in a tribute to Verdon 

Work
Stage
Film
Television
Music
In 1956, Verdon released an album titled The Girl I Left Home For  The album includes her covers of popular jazz standards of the time 

Awards and nominations
† Tied with co-star Thelma Ritter
 
†† Tied with Ethel Merman for Gypsy

††† Shared with Bob Fosse
Passage 10:
Mansi Aggarwal
Mansi Aggarwal is an Indian filmmaker, writer, producer and choreographer who has written, directed, produced films and choreographed songs in Indian film industry  She is best known for choreographing the song, "Bharat Mata ki Jai", from the movie Shanghai that starred actor Emraan Hashmi - the song gained a lot of popularity and became a hit in India  She has worked with path breaking actors - Priyanka Chopra in Mary Kom, Rajkumar Rao in Kai Po Che, and with Abhay Deol in the movie Dev D She has been nominated for the Filmfare award for the song "Bharat Mata ki Jai" from Shanghai starring the actor Emraan Hashmi, the song was loved by the audience and became popular in India  The song "Suno na Sangmarmar" from the movie Youngistaan was also nominated for Stardust and Filmfare awards She also choreographed commercials for big brands like Nykaa, Biba, Zandu Balm, etc  She was published as the youngest choreographer in the eminent magazine Femina   In 2018, she made her debut as a writer-director with her first short film The Handbag, which was posted on ‘Humara Movie’ YouTube channel  She came with her second film Raani, which got selected for Lift Off Global Networks, London and was also screened at the Darbhanga International Film Festival  It was a finalist at the Golden Jury International Film Festival and won the Best Actor award at the same  Raani released on Disney Hotstar and is streaming on MX Player  The films The Handbag and Raani were produced under the banner Yin Yang Films 

Early life and career
Mansi was born on 10 June 1984 and raised in Delhi where she also took training in Indian classical dance, Kathak  Her Kathak training started when she was only 7 years old and she later became a Visharad (graduate) in the dance form  She studied Economics at Hansraj College in Delhi University and after finishing her graduation she opened her dance institute in Delhi—Mansi Dance Creations Her career in Bollywood movies started when she was first spotted by the film director, Anurag Kashyap, during a dance performance in Delhi  Anurag offered her to choreograph the critically acclaimed film, Gulaal  However, the movie got delayed and Mansi shifted her focus to academics until Anurag came to her for the second time with the proposal of choreographing Abhay Deol-starrer, Dev D Mansi is married to cinematographer Arindam Bhattacharjee 

Choreography in Indian Film Industry
Mansi has choreographed the following Bollywood movies:

Filmography as Director, Producer and Writer



ground_truth: Dracula

prompt_front: Answer the question based on the given passages. Only give me the answer and do not output any other words.

Question: Who choreographed one who is said to be the last muse for the choreographer and starred in the Nutcracker?

The following are given passages.
Context 4:   Destinations included Italy, Spain, Switzerland, and Austria by motor coach from London’s Victoria station, and by flights from Southend and Lympne airports   Although the company's main programme focused on motor coach tours, it soon increased the choice of air package holidays too   In 1968, the success of the company's air package holidays allowed Cosmos to form the airline Monarch Airlines Throughout the 1970s and 1980s, Cosmos Tours increased its UK departure airports to include Manchester, Birmingham, Glasgow, Edinburgh and East Midlands, serving new destinations including Portugal, Yugoslavia, Greece, Malta and Tunisia, and longhaul destinations such as Florida, Thailand and Mexico 
In 1986 Cosmos Tours became the first mainstream operator in the UK to launch a Christmas Lapland programme 

Expansion (1987–2009)
In 1987, the company changed its name from Cosmos Tours to Cosmos Holidays 
In September 1991, the Globus Travel Group acquired 80% of Avro Plc, a flight-only company set up by Paul Dendle  This acquisition enhanced the company’s charter seat-only presence in the market  In 1994, the Globus Group acquired the remaining 20% 
In 1994, Cosmos launched a direct-sell brand, Archers Direct (later Archers Holidays, shut down in November 2018), featuring a worldwide touring programme 
In 2002, Cosmos launched an accommodation-only brand, somewhere2stay, which supplied hotel, apartment and villa accommodation to the UK travel trade  Four years after launching somewhere2stay, sales made up £20-£40 million of an estimated £300-£350 million turnover in the accommodation-only sector  During 2006, the decision was made to run somewhere2stay separately from Cosmos Holidays In 2007, Cosmos announced they would introduce package holidays using Monarch’s full range of scheduled flights, in line with the expansion plans announced by the airline during the same year In 2009, executive chairman, Iain Rawlinson announced plans to reinvent the company as a scheduled carrier, after the company made financial losses  It was predicted at the time that the parent company of Cosmos Holidays would make a loss of around £45 million  During the same year, media coverage suggested there were problems with their approach  The Mantegazza family from Switzerland, which had owned Group Voyagers since its foundation, invested money into the group to cover the losses 

Consolidation (2014-present)
In 2014, the Mantegazza family announced plans to sell Monarch Holdings Ltd  Subsidiaries included Monarch Airlines, Monarch Aircraft Engineering, First Aviation, Cosmos Holidays, somewhere2stay and Avro  On 31 October 2014, the holiday group was sold to venture capitalists, Greybull Capital  Cosmos Tours & Cruises was retained by the Mantegazza Family In 2016, Cosmos introduced a private tour programme based on existing tour itineraries in Asia, Africa and India with a private guide/driver included 
From 1 April 2017, the tour operator regained all rights to the brand Cosmos, having reached a formal agreement with Monarch which terminated the licence covering the use of the name 

Destinations
Cosmos provides tours, cruises and rail journeys in over 40 countries, flying from up to 27 UK airports 
The tour operator with its origins in touring in Italy, offers holidays across Europe and the Mediterranean   Other destinations include North America & Canada, Central & South America, Asia and the Far East, Africa, the Persian Gulf, Indian Ocean, Australia and New Zealand 
In recent years, river and ocean cruises have been added to the product range of tours 

Awards
Cosmos has been shortlisted for travel industry and consumer awards including the TTG Travel Awards, the Globe Travel Awards, British Travel Awards as well as World of Cruising’s Wave Awards, and Cruise International’s Cruise Awards 
Passage 6:
List of basses in non-classical music
The bass singing voice has a vocal range that lies around the second E below middle C to the E above middle C (i e , E2–E4)  As with the contralto singing voice being the rarest female voice type, the bass voice is the rarest for males, and has the lowest vocal range of all voice types  However, the bass voice is determined not only by its vocal range, but also by its timbre, which tends to be darker than that of a baritone voice 
The term bass was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice  For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization  In non-classical music, singers are primarily defined by their genre and their gender and not by their vocal range  When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range 
The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as basses 

List of names
Gallery
See also
Voice classification in non-classical music
List of baritones in non-classical music
List of tenors in non-classical music
List of contraltos in non-classical music
List of mezzo-sopranos in non-classical music
List of sopranos in non-classical music
Voice type

Notes
Passage 7:
Alto
The musical term alto, meaning "high" in Italian (Latin: altus), historically refers to the contrapuntal part higher than the tenor and its associated vocal range  In 4-part voice leading alto is the second-highest part, sung in choruses by either low women's or high men's voices  In vocal classification these are usually called contralto and male alto or countertenor 
Such confusion of "high" and "low" persists in instrumental terminology  Alto flute and alto trombone are respectively lower and higher than the standard instruments of the family (the standard instrument of the trombone family being the tenor trombone), though both play in ranges within the alto clef  Alto recorder, however, is an octave higher, and is defined by its relationship to tenor and soprano recorders; alto clarinet is a fifth lower than B-flat clarinet, already an 'alto' instrument  There is even a contra-alto clarinet, (an octave lower than the alto clarinet), with a range B♭0 – D4 

Etymology
In choral music for mixed voices, "alto" describes the lowest part commonly sung by women  The explanation for the anomaly of this name is to be found not in the use of adult falsettists in choirs of men and boys but further back in innovations in composition during the mid-15th century  Before this time it was usual to write a melodic cantus or superius against a tenor (from Latin tenere, to hold) or 'held' part, to which might be added a contratenor, which was in counterpoint with (in other words, against = contra) the tenor  The composers of Ockeghem's generation wrote two contratenor parts and designated them as contratenor altus and contratenor bassus; they were respectively higher and lower than the tenor part  From these derive both the modern terms "alto" (and contralto) and "bass" 

Solo voices
The contralto voice is a matter of vocal timbre and tessitura as well as range, and a classically trained solo contralto would usually have a range greater than that of a normal choral alto part in both the upper and lower ranges  However, the vocal tessitura of a classically trained contralto would still make these singers more comfortable singing in the lower part of the voice  A choral non-solo contralto may also have a low range down to D3 (thus perhaps finding it easier to sing the choral tenor part), but some would have difficulty singing above E5  In a choral context mezzo-sopranos and contraltos might sing the alto part, together with countertenors, thus having three vocal timbres (and two means of vocal production) singing the same notes The use of the term "alto" to describe solo voices is mostly seen in contemporary music genres (pop, rock, etc ) to describe singers whose range is lower than that of a mezzo-soprano but higher than that of a true contralto, and is very rarely seen in classical music outside of soloists in choral works  In classical music, most women with an alto range would be grouped within mezzo-sopranos, but many terms in common usage in various languages and in different cultures exist to describe solo classical singers with this range  Examples include contralto, countertenor, haute-contre, and tenor altino, among others 

In choral music
In SATB four-part mixed chorus, the alto is the second-highest vocal range, above the tenor and bass and below the soprano  The alto range in choral music is approximately from F3 (the F below middle C) to F5 (the second F above middle C)  In common usage, alto is used to describe the voice type that typically sings this part, though this is not strictly correct  Alto, like the other three standard modern choral voice classifications (soprano, tenor and bass) was originally intended to describe a part within a homophonic or polyphonic texture, rather than an individual voice type; neither are the terms alto and contralto interchangeable or synonymous, though they are often treated as such 
Although some women who sing alto in a choir are contraltos, many would be more accurately called mezzo-sopranos (a voice of somewhat higher range and different timbre)  Men singing in this range are countertenors, although this term is a source of considerable controversy, some authorities preferring the usage of the term "male alto" for those countertenors who use a predominantly falsetto voice production (boys singing in their natural range may be termed "boy altos") 

See also
Voice classification in non-classical music
Passage 8:
List of contraltos in non-classical music
The contralto singing voice has a vocal range that lies between the F below "middle C" (F3) to two Fs above middle C (F5) and is the lowest type of female voice   In the lower and upper extremes, some contralto voices can sing from two Bs below middle C (B2) to two B♭s above middle C (B♭5) The term contralto was developed in relation to classical and operatic voices, where the classification is based not merely on the singer's vocal range but also on the tessitura and timbre of the voice  For classical and operatic singers, their voice type determines the roles they will sing and is a primary method of categorization  In classical music, a "pure" contralto is considered the rarest type of female voice  In non-classical music, singers are primarily defined by their genre and their gender, not their vocal range  When the terms soprano, mezzo-soprano, contralto, tenor, baritone, and bass are used as descriptors of non-classical voices, they are applied more loosely than they would be to those of classical singers and generally refer only to the singer's perceived vocal range  Contemporarily, the informal term alto is sometimes used interchangeably with contralto The following is a list of singers in country, popular music, jazz, and musical theatre who have been described as contraltos 

List of names
See also
List of mezzo-sopranos in non-classical music
List of sopranos in non-classical music
List of basses in non-classical music
List of baritones in non-classical music
List of tenors in non-classical music
List of operatic contraltos
Voice classification in non-classical music
Voice type

Notes
Passage 9:
Georgia Brown (Brazilian singer)
Rossana Monti, better known by the stage name Georgia Brown, is a Brazilian singer noted for her extensive vocal range 

Career
At the age of fifteen, Brown toured as backup vocalist for Brazilian singer Jorge Ben, during his "W Brasil Tour" in 1995  Following the conclusion of the tour, she entered in contests "Skol Rock" and "Fest Valda"  In 1997, Brown relocated to California in the United States of America to begin recording her first album  In 2001, Brown released her debut album "Black Nature"  The album spawned the singles: "Commit A Crime" and "Hold On"  Following the release of her debut album, she headlined her first tour "Black Nature Tour"  In 2002, "Black Nature" was certified gold in Brazil with sales in excess of 120,000 copies 
In 2003, she released a single "Forgiven"  The song was remixed by DJ Patife and featured on his album "Na Estrada", released in 2005  In 2004, she released her second album Heart Beats, which became certified platinum in Brazil  She headlined first international tour "Heart Beats World Tour" in 2004  In the same year, Brown broke American singer Mariah Carey's vocal records on Guinness World Records and received a certificate for two records: "World's Greatest Vocal Range by a Female B2-F8" and "World's Highest Note "F8" In 2006, Brown began recording her third album  In 2008, she released her third studio album The Renascence of Soul  In 2010, Brown released house music single titled "Love 4 Real"  In 2012, she released an extended play entitled Me & Myself 
In July 2018, Brown released a single "#HighVibration (Sweet Sensation)" 

Discography
AlbumsBlack Nature (2001)
Heart Beats (2004)
The Renascence of Soul (2008)
Me & Myself – EP (2012)Singles"Commit A Crime" (2001)
"Hold On" (2001)
"Forgiven" (2003)
"Lost Love" (2004)
"Art A Shield for Me" (2008)
"Save My Soul" (2008)
"Loneliness" (2009)
"Love 4 Real" (2010)
"#HighVibration (Sweet Sensation)" (2018)
Passage 10:
Range (music)
In music, the range, or chromatic range, of a musical instrument is the distance from the lowest to the highest pitch it can play  For a singing voice, the equivalent is vocal range  The range of a musical part is the distance between its lowest and highest note 

Compass
Among British English speakers, and perhaps others, compass means the same thing as chromatic range—the interval between the lowest and highest note attainable by a voice or musical instrument 

Other ranges
The terms  sounding range, written range,  designated range, duration range and dynamic range have specific meanings 
The sounding range refers to the pitches produced by an instrument, while the written range refers to the compass (span) of notes written in the sheet music, where the part is sometimes transposed for convenience  A piccolo, for example, typically has a sounding range one octave higher than its written range  The designated range is the set of notes the player should or can achieve while playing  All instruments have a designated range, and all pitched instruments have a playing range  Timbre, dynamics, and duration ranges are interrelated and one may achieve registral range at the expense of timbre  The designated range is thus the range in which a player is expected to have comfortable control of all aspects 
The duration range is the difference between the shortest and longest rhythm used  Dynamic range is the difference between the quietest and loudest volume of an instrument, part or piece of music 

Range limits
Although woodwind instruments and string instruments have no theoretical upper limit to their range (subject to practical limits), they generally cannot go below their designated range   Brass instruments, on the other hand, can play beyond their designated ranges  Notes lower than the brass instrument's designated range are called pedal tones  The playing range of a brass instrument depends on both the technical limitations of the instrument and the skill of the player 
Classical arrangements seldom make woodwind or brass instruments play beyond their designed range  String musicians play the bottom of their ranges very frequently, but the top of a string instrument's range is rather fuzzy, and it is unusual for a string player to exceed the designated range  It is quite rare for wind musicians to play the extremes of their instruments  The most common exception is that in many 20th century works, pedal tones are called for in bass trombones 
This chart uses standard numberings for octaves where middle C corresponds to C4  In the MIDI language middle C is referred to as MIDI note number 60 
The lowest note that a pipe organ can sound (with a true pipe) is C−1 (or CCCC), which is 8 Hz, below the range of human hearing and not visible on this chart  However, if acoustic combination (a note and its fifth) counts, the lowest note is C−2 (or CCCCC), which is 4 Hz 
In terms of recording and reproduction, many speakers have a low limit of around 40–60 Hz 

Typical ranges
*This chart only displays down to C0, though some pipe organs, such as the Boardwalk Hall Auditorium Organ, extend down to C−1 (one octave below C0)  Also, the fundamental frequency of the subcontrabass tuba is B♭−1 

See also
Tessitura
Extension (music)
Sub-bass
Hearing range



ground_truth: George Balanchine