In this task, you're expected to write answers to questions involving multiple references to the same entity. The answer to the question should be unambiguous and a phrase in the paragraph. Most questions can have only one correct answer.

Q: Passage: Amos reflects back on his early childhood in then British Mandate of Palestine (now Israel) with his mother Fania and father Arieh. His parents are Eastern European Jews living in Jerusalem, which his mother finds difficult as her sisters and family live in Tel Aviv and communication between them is difficult. Amos, an only child, is particularly close with his mother, who frequently tells him stories based on her childhood that often have unhappy or violent endings.
Amos' parents regularly lend him out to a childless couple they are friends with. On one occasion this couple take him to visit a friend of theirs, a Palestinian Arab. They warn Amos to be quiet and not make much fuss lest he offend their hosts, but while playing with a swing he accidentally injures a child.
On November 29, 1947, Amos' family and others from the neighbourhood gather around a radio in the street to hear the passing of United Nations General Assembly Resolution 181, which adopted a plan to partition Mandatory Palestine into independent Arab and Jewish states. Amos' parents are overwhelmed with joy. Soon afterwards, civil war erupts in Palestine. Amos' father enlists to fight in the 1948 Arab–Israeli War, while Amos and other children are recruited to the war effort. One of his mother's friends is killed while hanging up laundry during the war.
Fania falls into a depression and becomes unable to sleep or eat. Amos and Arieh try their best to hide her depression from their friends and family. After a change in pills Fania abruptly becomes her old more lively self and tries to act normally for her husband and child. A short time later she relapses once more and goes to visit her sisters in Tel Aviv, where she kills herself by overdose.
Amos goes to live on a kibbutz. Reuniting with his father as a teenager, he shows him his new life but admits that despite his attempts at being a strong and healthy farmer he is still a pale and weak intellectual. 
Question: Who is Fania with before her death?

A: her sisters.
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Q: Passage: While walking by Minnie Mouse's house one day, Mickey Mouse is enticed by the aroma of a cake Minnie is baking. Promised a slice if he cleans the yard, Mickey immediately jumps into raking up the fall leaves littering Minnie's lawn. While working in the yard, a small tornado as tall as Mickey comes along and makes his work more complicated: first the youngster hops into the basket and leaps over Mickey countless times before he pounds the basket in place, shaking it to check if it's snared. After he throws the leaves in, the child pounces on him, spins him around, grabs his hat, and taunts him. Angered, Mickey pounces on the youngster, who spins him around and scoots away, leaving Mickey's hat on his head. Both Mickey and the youngster have a tug'o'war on the basket until it shatters on Mickey, who is entangled. Then, the child makes an army of leaves and marches around the house. Mickey manages to trap the child with a sack, which he ties and punts away. The tornadoling retaliates with just 2 punches, then attempts to get away, with Mickey hot on his heels. As Mickey chases him with a rake the terrified child calls out for help. The mother tornado, unamused with Mickey tormenting her offspring (and unaware of what her child has been doing to Mickey), furiously pursues him with a look of relentlessness on her face. Her angry rampage causes chaos and destruction through the farm fields and grasslands until she lifts the lower portion of her gigantic body and slows Mickey's movement.
When the twister finally sucks Mickey in, he is sent for a spin until he ends up falling into Minnie's water fountain. After the two tornados leave, Minnie, unaware of the whole incident finds her garden in a complete mess causing Mickey to get her cake thrown in his face which he proceeds to eat. 
Question: What is the first name of the person who is spun around by a child?

A: Mickey.
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Q: Passage: By the late 1950s, Covent Garden was gradually abandoning its policy of productions in the vernacular; such singers as Maria Callas would not relearn their roles in English. This made it easier for Tucker to point up the difference between the two London opera companies. While Covent Garden engaged international stars, Sadler's Wells focused on young British and Commonwealth performers. Colin Davis was appointed musical director in succession to Gibson in 1961. The repertoire continued to mix familiar and unfamiliar operas. Novelties in Davis's time included Pizzetti's Murder in the Cathedral, Stravinsky's Oedipus rex, Richard Rodney Bennett's The Mines of Sulphur and more Janáček. Sadler's Wells's traditional policy of giving all operas in English continued, with only two exceptions: Oedipus rex, which was sung in Latin, and Monteverdi's L'Orfeo, sung in Italian, for reasons not clear to the press. In January 1962, the company gave its first Gilbert and Sullivan opera, Iolanthe, on the day on which the Savoy operas came out of copyright and the D'Oyly Carte monopoly ended.  The production was well received (it was successfully revived for many seasons until 1978) and was followed by a production of The Mikado in May of the same year.The Islington theatre was by now clearly too small to allow the company to achieve any further growth. A study conducted for the Arts Council reported that in the late 1960s the two Sadler's Wells companies comprised 278 salaried performers and 62 guest singers. The company had experience of playing in a large West End theatre, such as its 1958 sell-out production of The Merry Widow that had transferred to the 2,351-seat London Coliseum for a summer season. Ten years later, the lease of the Coliseum became available.  Stephen Arlen, who had succeeded Tucker as managing director, was the primary advocate for moving the company. After intense negotiations and fund-raising, a ten-year lease was signed in 1968.  One of the company's last productions at the Islington theatre was Wagner's The Mastersingers, conducted by Goodall in 1968, which 40 years later was described by Gramophone magazine as "legendary". The company left Sadler's Wells with a revival of the work with which it had re-opened the theatre in 1945, Peter Grimes. Its last performance at the Rosebery Avenue theatre was on 15 June 1968. 
Question: What company did Stephen Arlen advocate to move?

A:
Sadler's Wells.
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