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.

[EX Q]: Passage: In 1947, Inspector Garvey of Scotland Yard suspects Michael Lanyard, the reformed jewel thief known as "The Lone Wolf" is behind the theft of the priceless diamonds called the "Eyes of the Nile". Lanyard denies any involvement claiming that he is in London with his butler, Claudius Jamison to write a book on the jewels and was in New York when they were stolen. 
Lanyard and Jamison are short of funds and when Ann Kelmscott, the daughter of wealthy gem collector Sir John Kelmscott, invites them to the family estate, they agree. Sir John confides that he is in desperate need of money and asks Lanyard to arrange a confidential loan with part of his jewel collection as collateral. Jamison tells his master that Lily  (Queenie Leonard), the maid, told him the butler, Henry Robards, is heartbroken because his former wife, actress Iris Chatham, has run off with Monty Beresford who financed the lavish stage production that launched Iris to stardom. 
Back at his hotel, Lanyard receives a call from Iris, inviting him to the theater that night where she asks him to stay away from the Kelmscotts. At her apartment, Robards begs her for a reconciliation, but she demands something first. Lanyard decides to accept Kelmscott's offer and arranges to meet Bruce Tang, a gem dealer the next morning. Kelmscott gives Robards a packet of jewels to deliver to Lanyard but he steals the Eyes of the Nile for Iris. David Woolerton, Ann's fiancé, asks him for a ride because he wants to spy on Lanyard. At Tang's shop, Inspector Garvey has followed Lanyard. When Robards' car rolls to a stop, the butler is dead behind the wheel, the jewels still in his possession but the Eyes of the Nile are gone. Woolerton claims Robards pushed him out of the car on the outskirts, and said he suspects Lanyard was the murderer. 
Question: Who paid for the production responsible for making Henry's ex wife a star?
[EX A]: Monty Beresford.

[EX Q]: Passage: Massenet was a prolific composer; he put this down to his way of working, rising early and composing from four o'clock in the morning until midday, a practice he maintained all his life. In general he worked fluently, seldom revising, although Le roi de Lahore, his nearest approach to a traditional grand opera, took him several years to complete to his own satisfaction. It was finished in 1877 and was one of the first new works to be staged at the Palais Garnier, opened two years previously. The opera, with a story taken from the Mahabharata, was an immense success and was quickly taken up by the opera houses of eight Italian cities. It was also performed at the Hungarian State Opera House, the Bavarian State Opera, the Semperoper, Dresden, the Teatro Real in Madrid, and the Royal Opera House, Covent Garden, in London. After the first Covent Garden performance, The Times summed the piece up in a way that was frequently to be applied to the composer's operas: "M. Massenet's opera, although not a work of genius proper, is one of more than common merit, and contains all the elements of at least temporary success."This period was an early high point in Massenet's career. He had been made a chevalier of the Legion of Honour in 1876, and in 1878 he was appointed professor of counterpoint, fugue and composition at the Conservatoire under Thomas, who was now the director. In the same year he was elected to the Institut de France, a prestigious honour, rare for a man in his thirties. Camille Saint-Saëns, whom Massenet beat in the election for the vacancy, was resentful at being passed over for a younger composer. When the result of the election was announced, Massenet sent Saint-Saëns a courteous telegram: "My dear colleague: the Institut has just committed a great injustice". Saint-Saëns cabled back, "I quite agree." He was elected three years later, but his relations with Massenet remained cool.Massenet was a popular and respected teacher at the Conservatoire. His pupils included Bruneau, Charpentier, Chausson, Hahn, Leroux, Pierné, Rabaud and Vidal. He was known for the care he took in drawing out his pupils' ideas, never trying to impose his own. One of his last students, Charles Koechlin, recalled Massenet as a voluble professor, dispensing "a teaching active, living, vibrant, and moreover comprehensive". According to some writers, Massenet's influence extended beyond his own students. In the view of the critic Rodney Milnes, "In word-setting alone, all French musicians profited from the freedom he won from earlier restrictions." Romain Rolland and Francis Poulenc have both considered Massenet an influence on Debussy's Pelléas et Mélisande; Debussy was a student at the Conservatoire during Massenet's professorship but did not study under him. 
Question: What is the name of the opera the Times calls "one of more than common merit"?
[EX A]: Le roi de Lahore.

[EX Q]: Passage: Growing up in Hibbing, Minnesota, Dylan and his family were part of the area's small but close-knit Jewish community, and in May 1954 Dylan had his Bar Mitzvah. Around the time of his 30th birthday, in 1971, Dylan visited Israel, and also met Rabbi Meir Kahane, founder of the New York-based Jewish Defense League. Time magazine quoted him saying about Kahane, "He's a really sincere guy. He's really put it all together." Subsequently, Dylan downplayed the extent of his contact with Kahane.
During the late 1970s, Dylan converted to Christianity. In November 1978, guided by his friend Mary Alice Artes, Dylan made contact with the Vineyard School of Discipleship. Vineyard Pastor Kenn Gulliksen has recalled: "Larry Myers and Paul Emond went over to Bob's house and ministered to him. He responded by saying, 'Yes he did in fact want Christ in his life.' And he prayed that day and received the Lord." From January to March 1979, Dylan attended the Vineyard Bible study classes in Reseda, California.By 1984, Dylan was distancing himself from the "born again" label. He told Kurt Loder of Rolling Stone magazine: "I've never said I'm born again. That's just a media term. I don't think I've been an agnostic. I've always thought there's a superior power, that this is not the real world and that there's a world to come." In response to Loder's asking whether he belonged to any church or synagogue, Dylan laughingly replied, "Not really. Uh, the Church of the Poison Mind."When it was asked of Dylan in a 1986 press conference in Australia "How much do you feel you are a vessel, a medium for a higher power, for God, that it [the music] flows through you... for Him?" Dylan replied, "Well I feel that way about most of the stuff that I do."In 1997, he told David Gates of Newsweek:
Here's the thing with me and the religious thing. This is the flat-out truth: I find the religiosity and philosophy in the music. I don't find it anywhere else. Songs like "Let Me Rest on a Peaceful Mountain" or "I Saw the Light"—that's my religion. I don't adhere to rabbis, preachers, evangelists, all of that. I've learned more from the songs than I've learned from any of this kind of entity. The songs are my lexicon. I believe the songs. 
Question: Who said "he's really put it all together"?
[EX A]:
Dylan.