gaussalgo/Canard_Wiki-augmented huggingface dataset:
Abebe Bikila

Context: Abebe returned to his homeland a hero. He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway. Abebe was paraded through the streets of Addis Ababa along a procession route lined with thousands of people and presented to Emperor Haile Selassie. The emperor awarded him the Star of Ethiopia and promoted him to the rank of asiraleqa (corporal). He was given the use of a chauffeur-driven Volkswagen Beetle (since he did not yet know how to drive) and a home, both owned by the Guard.  On December 13, 1960, while Haile Selassie was on a state visit to Brazil, Imperial Guard forces led by Mengistu began an unsuccessful coup and briefly proclaimed Selassie's eldest son Asfaw Wossen Taffari emperor. Fighting took place in the heart of Addis Ababa, shells detonated in the Jubilee Palace, and many of those closest to the emperor were killed. Although Abebe was not directly involved, he was briefly arrested and questioned. Mengistu was later hanged, and his forces (which included many members of the Imperial Guard) were killed in the fighting, arrested or fled.  In the 1961 Athens Classical Marathon, Abebe again won while running barefoot. This was the second and last event in which he competed barefooted. The same year he won the marathons in Osaka and Kosice. While in Japan, he was approached by a Japanese shoe company, Onitsuka Tiger, with the possibility of wearing its shoes; they were informed by Niskanen that Abebe had "other commitments." Kihachiro Onitsuka suspected that Abebe had a secret sponsorship deal with Puma, in spite of the now-abandoned rules against such deals.  Abebe ran the 1963 Boston Marathon, finishing fifth in 2:24:43, the only time in his competitive career that he completed an international marathon without winning. He and countryman Mamo Wolde, who finished 12th, had run together on record pace for 18 miles, until cold winds and the hills in Newton caused both to fall back. The race was won by Belgium's Aurele Vandendriessche in a course record 2:18:58. Abebe returned to Ethiopia and did not compete in another marathon until 1964 in Addis Ababa. Abebe won that race in a time of 2:23:14.8. CANNOTANSWER

Question: What did you find most interesting thing in Abebe Bikila, 1960-64 article?
Answer: He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway. Abebe was paraded
Abebe Bikila

Context: Abebe returned to his homeland a hero. He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway. Abebe was paraded through the streets of Addis Ababa along a procession route lined with thousands of people and presented to Emperor Haile Selassie. The emperor awarded him the Star of Ethiopia and promoted him to the rank of asiraleqa (corporal). He was given the use of a chauffeur-driven Volkswagen Beetle (since he did not yet know how to drive) and a home, both owned by the Guard.  On December 13, 1960, while Haile Selassie was on a state visit to Brazil, Imperial Guard forces led by Mengistu began an unsuccessful coup and briefly proclaimed Selassie's eldest son Asfaw Wossen Taffari emperor. Fighting took place in the heart of Addis Ababa, shells detonated in the Jubilee Palace, and many of those closest to the emperor were killed. Although Abebe was not directly involved, he was briefly arrested and questioned. Mengistu was later hanged, and his forces (which included many members of the Imperial Guard) were killed in the fighting, arrested or fled.  In the 1961 Athens Classical Marathon, Abebe again won while running barefoot. This was the second and last event in which he competed barefooted. The same year he won the marathons in Osaka and Kosice. While in Japan, he was approached by a Japanese shoe company, Onitsuka Tiger, with the possibility of wearing its shoes; they were informed by Niskanen that Abebe had "other commitments." Kihachiro Onitsuka suspected that Abebe had a secret sponsorship deal with Puma, in spite of the now-abandoned rules against such deals.  Abebe ran the 1963 Boston Marathon, finishing fifth in 2:24:43, the only time in his competitive career that he completed an international marathon without winning. He and countryman Mamo Wolde, who finished 12th, had run together on record pace for 18 miles, until cold winds and the hills in Newton caused both to fall back. The race was won by Belgium's Aurele Vandendriessche in a course record 2:18:58. Abebe returned to Ethiopia and did not compete in another marathon until 1964 in Addis Ababa. Abebe won that race in a time of 2:23:14.8. CANNOTANSWER

Question: How did Abebe Bikila countrymen feel about Abebe Bikila's many wins?
Answer: Abebe was paraded through the streets of Addis Ababa along a procession route lined with thousands of people and presented to Emperor Haile Selassie. The
Abebe Bikila

Context: Abebe returned to his homeland a hero. He was greeted by a large crowd, many dignitaries and the commander of the Imperial Guard, Brigadier-General Mengistu Neway. Abebe was paraded through the streets of Addis Ababa along a procession route lined with thousands of people and presented to Emperor Haile Selassie. The emperor awarded him the Star of Ethiopia and promoted him to the rank of asiraleqa (corporal). He was given the use of a chauffeur-driven Volkswagen Beetle (since he did not yet know how to drive) and a home, both owned by the Guard.  On December 13, 1960, while Haile Selassie was on a state visit to Brazil, Imperial Guard forces led by Mengistu began an unsuccessful coup and briefly proclaimed Selassie's eldest son Asfaw Wossen Taffari emperor. Fighting took place in the heart of Addis Ababa, shells detonated in the Jubilee Palace, and many of those closest to the emperor were killed. Although Abebe was not directly involved, he was briefly arrested and questioned. Mengistu was later hanged, and his forces (which included many members of the Imperial Guard) were killed in the fighting, arrested or fled.  In the 1961 Athens Classical Marathon, Abebe again won while running barefoot. This was the second and last event in which he competed barefooted. The same year he won the marathons in Osaka and Kosice. While in Japan, he was approached by a Japanese shoe company, Onitsuka Tiger, with the possibility of wearing its shoes; they were informed by Niskanen that Abebe had "other commitments." Kihachiro Onitsuka suspected that Abebe had a secret sponsorship deal with Puma, in spite of the now-abandoned rules against such deals.  Abebe ran the 1963 Boston Marathon, finishing fifth in 2:24:43, the only time in his competitive career that he completed an international marathon without winning. He and countryman Mamo Wolde, who finished 12th, had run together on record pace for 18 miles, until cold winds and the hills in Newton caused both to fall back. The race was won by Belgium's Aurele Vandendriessche in a course record 2:18:58. Abebe returned to Ethiopia and did not compete in another marathon until 1964 in Addis Ababa. Abebe won that race in a time of 2:23:14.8. CANNOTANSWER

Question: How did Abebe Bikila react when met Haile Selassie?
Answer: He was given the use of a chauffeur-driven Volkswagen Beetle (since he did not yet know how to drive) and a home, both owned by the Guard.
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: What year did the London revival of the play Guys and Dolls begin?
Answer: began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop,
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: What happened after stopping rehearsals for the London revival of the play Guys and Dolls?
Answer: his revival never saw the light of day.
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: Other than the 1971 attempt to revive Guys and Dolls in London, was there another attempt?
Answer: In 1982, Richard Eyre directed a major revival
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: What happened with the 1982 attempt by Richard Eyre to revive the play Guys and Dolls?
Answer: Eyre called it a "re-thinking" of the musical,
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: How did Richard Eyre 1982 revival of the Guys and Dolls change the play?
Answer: brassier orchestrations with vintage yet innovative harmonies.
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: Was the 1982 Richard Eyre revival of the play Guys and Dolls popular?
Answer: an overnight sensation,
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: Did the 1982 Richard Eyre revival of the play Guys and Dolls win any awards?
Answer: The production won five Olivier Awards,
Guys and Dolls

Context: Laurence Olivier had wanted to play Nathan Detroit, and began rehearsals for a planned 1971 London revival of Guys and Dolls at his National Theatre Company's Old Vic theatre. However, due to poor health he had to stop, and his revival never saw the light of day.  In 1982, Richard Eyre directed a major revival at London's National Theatre. Eyre called it a "re-thinking" of the musical, and his production featured an award-winning neon-lit set design inspired by Rudi Stern's 1979 book Let There Be Neon, and brassier orchestrations with vintage yet innovative harmonies. The show's choreography by David Toguri included a large-scale tap dance number of the "Guys and Dolls" finale, performed by the principals and entire cast. The revival opened March 9, 1982, and was an overnight sensation, running for nearly four years and breaking all box office records. The original cast featured Bob Hoskins as Nathan Detroit, Julia McKenzie as Adelaide, Ian Charleson as Sky and Julie Covington as Sarah. The production won five Olivier Awards, including for McKenzie and Eyre and for Best Musical. Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.  In October 1982, Hoskins was replaced by Trevor Peacock, Charleson by Paul Jones, and Covington by Belinda Sinclair; in the spring of 1983 McKenzie was replaced by Imelda Staunton and Fiona Hendley replaced Sinclair. This production closed in late 1983 to make way for a Broadway try-out of the ill-fated musical Jean Seberg, which following critical failure closed after four months. Eyre's Guys and Dolls returned to the National from April through September 1984, this time starring Lulu, Norman Rossington, Clarke Peters and Betsy Brantley. After a nationwide tour, this production transferred to the West End at the Prince of Wales Theatre, where it ran from June 1985 to April 1986.  Following Ian Charleson's untimely death from AIDS at the age of 40, in November 1990 two reunion performances of Guys and Dolls, with almost all of the original 1982 cast and musicians, were given at the National Theatre as a tribute to Charleson. The tickets sold out immediately, and the dress rehearsal was also packed. The proceeds from the performances were donated to the new Ian Charleson Day Centre HIV clinic at the Royal Free Hospital, and to scholarships in Charleson's name at LAMDA. CANNOTANSWER

Question: Other than the five Olivier Awards, what other awards did the 1982 Richard Eyre revival of the play Guys and Dolls win?
Answer: Eyre also won the Evening Standard Award, and Hoskins won the Critics' Circle Theatre Award.
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: How was the film Departures cast?
Answer: CANNOTANSWER
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: Besides the casting of Departures, are there any other interesting aspects about this article?
Answer: worked with Yamazaki on We Are Not Alone
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: Who worked with Yamazaki on We Are Not Alone?
Answer: Takita
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: What film did Takita and Yamazaki do together?
Answer: We Are Not Alone
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: Besides Takita and Yamazaki, who else was cast in the film We Are Not Alone?
Answer: CANNOTANSWER
Departures (2008 film)

Context: Motoki, by then in his early 40s and having built a reputation as a realist, was cast as Daigo. Veteran actor Tsutomu Yamazaki was selected for the role of Sasaki; Takita had worked with Yamazaki on We Are Not Alone (1993). Although the character of Mika was initially planned as being the same age as Daigo, the role went to pop singer Ryoko Hirosue, who had previously acted in Takita's Himitsu (Secret) in 1999. Takita explained that a younger actress would better represent the lead couple's growth out of naivety. In a 2009 interview, Takita stated that he had cast "everyone who was on my wish list".  Motoki studied the art of encoffinment first-hand from a mortician, and assisted in an encoffining ceremony; he later stated that the experience imbued him with "a sense of mission ... to try to use as much human warmth as I could to restore [the deceased] to a lifelike presence for presentation to her family". Motoki then drilled himself by practising on his talent manager until he felt he had mastered the procedure, one whose intricate, delicate movements he compared to those of the Japanese tea ceremony. Takita attended funeral ceremonies to understand the feelings of bereaved families, while Yamazaki never participated in the encoffinment training. Motoki also learned how to play a cello for the earlier parts of the film.  To provide realistic bodies while preventing the corpses from moving, after a lengthy casting process the crew chose extras who could lie as still as possible. For the bath house owner Tsuyako Yamashita, this was not possible owing to the need to see her alive first, and a search for a body double was unfruitful. Ultimately, the crew used digital effects to transplant a still image of the actor during the character's funeral scene, allowing for a realistic effect. CANNOTANSWER

Question: What does the article say about the film We Are Not Alone's success?
Answer: CANNOTANSWER
Sean Hannity

Context: Hannity hosted his first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM, while working as a general contractor. The show aired for 40 hours of air time. Regarding his first show, he said, "I wasn't good at it. I was terrible." Hannity's weekly show on KCSB was canceled after less than a year. This was after two shows featuring the book The AIDS Coverup: The Real and Alarming Facts about AIDS by Gene Antonio; among other remarks made during the broadcast, Hannity told a lesbian caller, "I feel sorry for your child." The university board that governed the station later reversed its decision due to a campaign conducted on Hannity's behalf by the Santa Barbara chapter of the American Civil Liberties Union, which argued that the station had discriminated against Hannity's First Amendment rights. When the station refused to give him a public apology and more airtime, Hannity decided against returning to KCSB.  After leaving KCSB, Hannity placed an ad in radio publications presenting himself as "the most talked about college radio host in America." Radio station WVNN in Athens, Alabama (part of the Huntsville market), then hired him to be the afternoon talk show host. From Huntsville, he moved to WGST in Atlanta in 1992, filling the slot vacated by Neal Boortz, who had moved to competing station WSB. In September 1996, Fox News co-founder Roger Ailes hired the then relatively unknown Hannity to host a television program under the working title Hannity and LTBD ("liberal to be determined"). Alan Colmes was then hired to co-host and the show debuted as Hannity & Colmes.  Later that year, Hannity left WGST for New York, where WABC had him substitute for their afternoon drive time host during Christmas week. In January 1997, WABC put Hannity on the air full-time, giving him the late night time slot. WABC then moved Hannity to the same drive time slot he had filled temporarily a little more than a year earlier. Hannity was on WABC's afternoon time slot from January 1998 until the end of 2013. Since January 2014, Hannity has hosted the 3-6 p.m. time slot on WOR in New York City.  In their 2007 book Common Ground: How to Stop the Partisan War That Is Destroying America, conservative Cal Thomas and liberal Bob Beckel describe Hannity as a leader of the pack among broadcasting political polarizers, which following James Q. Wilson they define as those who have "an intense commitment to a candidate, a culture, or an ideology that sets people in one group definitively apart from people in another, rival group." CANNOTANSWER

Question: How did Sean Hannity get his start?
Answer: Hannity hosted his first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM, while working as a general contractor.
Sean Hannity

Context: Hannity hosted his first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM, while working as a general contractor. The show aired for 40 hours of air time. Regarding his first show, he said, "I wasn't good at it. I was terrible." Hannity's weekly show on KCSB was canceled after less than a year. This was after two shows featuring the book The AIDS Coverup: The Real and Alarming Facts about AIDS by Gene Antonio; among other remarks made during the broadcast, Hannity told a lesbian caller, "I feel sorry for your child." The university board that governed the station later reversed its decision due to a campaign conducted on Hannity's behalf by the Santa Barbara chapter of the American Civil Liberties Union, which argued that the station had discriminated against Hannity's First Amendment rights. When the station refused to give him a public apology and more airtime, Hannity decided against returning to KCSB.  After leaving KCSB, Hannity placed an ad in radio publications presenting himself as "the most talked about college radio host in America." Radio station WVNN in Athens, Alabama (part of the Huntsville market), then hired him to be the afternoon talk show host. From Huntsville, he moved to WGST in Atlanta in 1992, filling the slot vacated by Neal Boortz, who had moved to competing station WSB. In September 1996, Fox News co-founder Roger Ailes hired the then relatively unknown Hannity to host a television program under the working title Hannity and LTBD ("liberal to be determined"). Alan Colmes was then hired to co-host and the show debuted as Hannity & Colmes.  Later that year, Hannity left WGST for New York, where WABC had him substitute for their afternoon drive time host during Christmas week. In January 1997, WABC put Hannity on the air full-time, giving him the late night time slot. WABC then moved Hannity to the same drive time slot he had filled temporarily a little more than a year earlier. Hannity was on WABC's afternoon time slot from January 1998 until the end of 2013. Since January 2014, Hannity has hosted the 3-6 p.m. time slot on WOR in New York City.  In their 2007 book Common Ground: How to Stop the Partisan War That Is Destroying America, conservative Cal Thomas and liberal Bob Beckel describe Hannity as a leader of the pack among broadcasting political polarizers, which following James Q. Wilson they define as those who have "an intense commitment to a candidate, a culture, or an ideology that sets people in one group definitively apart from people in another, rival group." CANNOTANSWER

Question: How did Sean Hannity's first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM go?
Answer: The show aired for 40 hours of air time. Regarding his first show, he said, "I wasn't good at it. I was terrible."
Sean Hannity

Context: Hannity hosted his first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM, while working as a general contractor. The show aired for 40 hours of air time. Regarding his first show, he said, "I wasn't good at it. I was terrible." Hannity's weekly show on KCSB was canceled after less than a year. This was after two shows featuring the book The AIDS Coverup: The Real and Alarming Facts about AIDS by Gene Antonio; among other remarks made during the broadcast, Hannity told a lesbian caller, "I feel sorry for your child." The university board that governed the station later reversed its decision due to a campaign conducted on Hannity's behalf by the Santa Barbara chapter of the American Civil Liberties Union, which argued that the station had discriminated against Hannity's First Amendment rights. When the station refused to give him a public apology and more airtime, Hannity decided against returning to KCSB.  After leaving KCSB, Hannity placed an ad in radio publications presenting himself as "the most talked about college radio host in America." Radio station WVNN in Athens, Alabama (part of the Huntsville market), then hired him to be the afternoon talk show host. From Huntsville, he moved to WGST in Atlanta in 1992, filling the slot vacated by Neal Boortz, who had moved to competing station WSB. In September 1996, Fox News co-founder Roger Ailes hired the then relatively unknown Hannity to host a television program under the working title Hannity and LTBD ("liberal to be determined"). Alan Colmes was then hired to co-host and the show debuted as Hannity & Colmes.  Later that year, Hannity left WGST for New York, where WABC had him substitute for their afternoon drive time host during Christmas week. In January 1997, WABC put Hannity on the air full-time, giving him the late night time slot. WABC then moved Hannity to the same drive time slot he had filled temporarily a little more than a year earlier. Hannity was on WABC's afternoon time slot from January 1998 until the end of 2013. Since January 2014, Hannity has hosted the 3-6 p.m. time slot on WOR in New York City.  In their 2007 book Common Ground: How to Stop the Partisan War That Is Destroying America, conservative Cal Thomas and liberal Bob Beckel describe Hannity as a leader of the pack among broadcasting political polarizers, which following James Q. Wilson they define as those who have "an intense commitment to a candidate, a culture, or an ideology that sets people in one group definitively apart from people in another, rival group." CANNOTANSWER

Question: What did others have to say about Sean Hannity's first talk radio show in 1989 at the volunteer college station at UC Santa Barbara, KCSB-FM?
Answer: Hannity's weekly show on KCSB was canceled after less than a year.