gaussalgo/Canard_Wiki-augmented huggingface dataset:
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Did A.J. Styles ever fight Jimmy Rave in the ring?
Answer: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave,
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Did A.J. Styles beat Jimmy Rave at the Third Anniversary Celebration?
Answer: though he was unsuccessful in defeating Rave.
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Did A.J. Styles have any wrestling partners during 2005-2006,besides feuding with Jimmy Rave?
Answer: At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show.
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Did A.J. Styles form alliances with other wrestlers, besides Generation Next Leader Austin Aries?
Answer: During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy.
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Did A.J. Styles fight Jimmy Rave again at all after the Third Anniversary Celebration?
Answer: Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana
A.J. Styles

Context: Styles returned to Ring of Honor at the Third Anniversary Celebration: Part Two to wrestle Jimmy Rave, who accused him of stealing the Styles Clash (which he called the Rave Clash) from him, though he was unsuccessful in defeating Rave. During his feud with Rave and The Embassy, Styles formed an alliance with Generation Next, who were also feuding with The Embassy. At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner, with the stipulation that the loser could no longer use the Rave/Styles Clash in Ring of Honor. At This Means War, he defeated Generation Next leader Austin Aries, who was attacked by The Embassy following the show. At Vendetta, Styles had his final match against The Embassy when he, along with Austin Aries, Jack Evans and Matt Sydal were defeated by Abyss, Alex Shelley, Jimmy Rave, and Prince Nana in an eight-man tag match.  Following his feud with The Embassy, Styles set his sights on winning a championship. At A Night of Tribute, Styles faced Christopher Daniels and Matt Sydal in a three-way match, which Daniels won. On the first show of 2006, Styles wrestled and defeated Matt Sydal, after which the two agreed to form a tag team and challenge for the ROH Tag Team Championship, which were held by Sydal's Generation Next teammates Austin Aries and Roderick Strong. Before receiving a shot at the tag team title, Styles received a shot at the ROH World Championship when he was handpicked by Bryan Danielson, but he was unsuccessful. At the Fourth Anniversary Show, Styles and Sydal received their shot at the ROH Tag Team Championship, but were unable to defeat the champions.  After an absence, Styles returned at Death Before Dishonor IV, defeating Davey Richards. Styles returned at Time to Man Up, losing to Samoa Joe. In a pre-taped promo, Styles said he would be taking several months off from ROH following the match; however, ROH commentators continually referred to the match as his final match and even played a special tribute to him after it. CANNOTANSWER

Question: Besides the final match against the Embassy, were there any other fights between A.J. Styles and Jimmy Rave?
Answer: At Glory by Honor IV, Styles defeated Rave with Mick Foley in his corner,
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What was Mercury Theatre?
Answer: in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What did Mercury Theatre company do?
Answer: Welles was executive producer,
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What role did Houseman play in Mercury Theatre?
Answer: CANNOTANSWER
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Did Welles and Houseman write productions?
Answer: Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: How were Welles and Houseman's shows received?
Answer: Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear."
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Aside from Joseph Cotten, did Welles and Houseman receive any other great reviews?
Answer: "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Did Welles receive any awards?
Answer: Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine,
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: What year did Welles appear?
Answer: the issue dated May 9, 1938--three days after his 23rd birthday.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Other than Welles appearing on the Time magazine cover, what else did you find interesting about the ti,e Welles appeared on the Time magazine cover?
Answer: The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone.
Orson Welles

Context: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday. CANNOTANSWER

Question: Why was the set the completely open with no curtain and the brick stage wall was painted dark red?
Answer: lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies.
Grigori Rasputin

Context: In 1897, Rasputin developed a renewed interest in religion, and left Pokrovskoye to go on a pilgrimage. His reasons for doing so are unclear: according to some sources, Rasputin left the village to escape punishment for his role in a horse theft. Other sources suggest that he had a vision - either of the Virgin Mary, or of St. Simeon of Verkhoturye - while still others suggest that Rasputin's pilgrimage was inspired by his interactions with a young theological student, Melity Zaborovsky. Whatever his reasons, Rasputin's departure was a radical life change: he was twenty-eight, had been married ten years, and had an infant son with another child on the way. According to Douglas Smith, his decision "could only have been occasioned by some sort of emotional or spiritual crisis."  Rasputin had undertaken earlier, shorter pilgrimages to the Holy Znamensky Monastery at Abalak and to Tobolsk's cathedral, but his visit to the St. Nicholas Monastery at Verkhoturye in 1897 was transformative. There, he met and was "profoundly humbled" by a starets (elder) known as Makary. Rasputin may have spent several months at Verkhoturye, and it was perhaps here that he learned to read and write, but he later complained about the monastery itself, claiming that some of the monks engaged in homosexuality and criticizing monastic life as too coercive. He returned to Pokrovskoye a changed man, looking disheveled and behaving differently than he had before. He became a vegetarian, swore off alcohol, and prayed and sang much more fervently than he had in the past.  Rasputin would spend the years that followed living as a Strannik, (a holy wanderer, or pilgrim), leaving Pokrovskoye for months or even years at a time to wander the country and visit a variety of different holy sites. It is possible that Rasputin wandered as far Athos, Greece - the center of Orthodox monastic life - in 1900.  By the early 1900s, Rasputin had developed a small circle of acolytes, primarily family members and other local peasants, who prayed with him on Sundays and other holy days when he was in Pokrovskoye. Building a makeshift chapel in Efim's root cellar - Rasputin was still living within his father's household at the time - the group held secret prayer meetings there. These meetings were the subject of some suspicion and hostility from the village priest and other villagers. It was rumored that female followers were ceremonially washing him before each meeting, that the group sang strange songs that the villagers had not heard before, and even that Rasputin had joined the Khlysty, a religious sect whose ecstatic rituals were rumored to included self-flagellation and sexual orgies. According to historian Joseph Fuhrmann, however, "repeated investigations failed to establish that Rasputin was ever a member of the sect," and rumors that he was a Khlyst appear to have been unfounded. CANNOTANSWER

Question: What interesting information is there about Grigori Rasputin conversion?
Answer: In 1897, Rasputin developed a renewed interest in religion, and left Pokrovskoye to go on a pilgrimage.
Grigori Rasputin

Context: In 1897, Rasputin developed a renewed interest in religion, and left Pokrovskoye to go on a pilgrimage. His reasons for doing so are unclear: according to some sources, Rasputin left the village to escape punishment for his role in a horse theft. Other sources suggest that he had a vision - either of the Virgin Mary, or of St. Simeon of Verkhoturye - while still others suggest that Rasputin's pilgrimage was inspired by his interactions with a young theological student, Melity Zaborovsky. Whatever his reasons, Rasputin's departure was a radical life change: he was twenty-eight, had been married ten years, and had an infant son with another child on the way. According to Douglas Smith, his decision "could only have been occasioned by some sort of emotional or spiritual crisis."  Rasputin had undertaken earlier, shorter pilgrimages to the Holy Znamensky Monastery at Abalak and to Tobolsk's cathedral, but his visit to the St. Nicholas Monastery at Verkhoturye in 1897 was transformative. There, he met and was "profoundly humbled" by a starets (elder) known as Makary. Rasputin may have spent several months at Verkhoturye, and it was perhaps here that he learned to read and write, but he later complained about the monastery itself, claiming that some of the monks engaged in homosexuality and criticizing monastic life as too coercive. He returned to Pokrovskoye a changed man, looking disheveled and behaving differently than he had before. He became a vegetarian, swore off alcohol, and prayed and sang much more fervently than he had in the past.  Rasputin would spend the years that followed living as a Strannik, (a holy wanderer, or pilgrim), leaving Pokrovskoye for months or even years at a time to wander the country and visit a variety of different holy sites. It is possible that Rasputin wandered as far Athos, Greece - the center of Orthodox monastic life - in 1900.  By the early 1900s, Rasputin had developed a small circle of acolytes, primarily family members and other local peasants, who prayed with him on Sundays and other holy days when he was in Pokrovskoye. Building a makeshift chapel in Efim's root cellar - Rasputin was still living within his father's household at the time - the group held secret prayer meetings there. These meetings were the subject of some suspicion and hostility from the village priest and other villagers. It was rumored that female followers were ceremonially washing him before each meeting, that the group sang strange songs that the villagers had not heard before, and even that Rasputin had joined the Khlysty, a religious sect whose ecstatic rituals were rumored to included self-flagellation and sexual orgies. According to historian Joseph Fuhrmann, however, "repeated investigations failed to establish that Rasputin was ever a member of the sect," and rumors that he was a Khlyst appear to have been unfounded. CANNOTANSWER

Question: Where did Grigori Rasputin go on pilgrimage to?
Answer: Holy Znamensky Monastery at Abalak and to Tobolsk's cathedral,
Grigori Rasputin

Context: In 1897, Rasputin developed a renewed interest in religion, and left Pokrovskoye to go on a pilgrimage. His reasons for doing so are unclear: according to some sources, Rasputin left the village to escape punishment for his role in a horse theft. Other sources suggest that he had a vision - either of the Virgin Mary, or of St. Simeon of Verkhoturye - while still others suggest that Rasputin's pilgrimage was inspired by his interactions with a young theological student, Melity Zaborovsky. Whatever his reasons, Rasputin's departure was a radical life change: he was twenty-eight, had been married ten years, and had an infant son with another child on the way. According to Douglas Smith, his decision "could only have been occasioned by some sort of emotional or spiritual crisis."  Rasputin had undertaken earlier, shorter pilgrimages to the Holy Znamensky Monastery at Abalak and to Tobolsk's cathedral, but his visit to the St. Nicholas Monastery at Verkhoturye in 1897 was transformative. There, he met and was "profoundly humbled" by a starets (elder) known as Makary. Rasputin may have spent several months at Verkhoturye, and it was perhaps here that he learned to read and write, but he later complained about the monastery itself, claiming that some of the monks engaged in homosexuality and criticizing monastic life as too coercive. He returned to Pokrovskoye a changed man, looking disheveled and behaving differently than he had before. He became a vegetarian, swore off alcohol, and prayed and sang much more fervently than he had in the past.  Rasputin would spend the years that followed living as a Strannik, (a holy wanderer, or pilgrim), leaving Pokrovskoye for months or even years at a time to wander the country and visit a variety of different holy sites. It is possible that Rasputin wandered as far Athos, Greece - the center of Orthodox monastic life - in 1900.  By the early 1900s, Rasputin had developed a small circle of acolytes, primarily family members and other local peasants, who prayed with him on Sundays and other holy days when he was in Pokrovskoye. Building a makeshift chapel in Efim's root cellar - Rasputin was still living within his father's household at the time - the group held secret prayer meetings there. These meetings were the subject of some suspicion and hostility from the village priest and other villagers. It was rumored that female followers were ceremonially washing him before each meeting, that the group sang strange songs that the villagers had not heard before, and even that Rasputin had joined the Khlysty, a religious sect whose ecstatic rituals were rumored to included self-flagellation and sexual orgies. According to historian Joseph Fuhrmann, however, "repeated investigations failed to establish that Rasputin was ever a member of the sect," and rumors that he was a Khlyst appear to have been unfounded. CANNOTANSWER

Question: Did Grigori Rasputin have a reason for goin on pilgrimage?
Answer: His reasons for doing so are unclear: