In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.

Passage: Trudy Kockenlocker is a small-town girl with a soft spot for soldiers. She wakes up one morning after a wild farewell party for a group of them to find that while drunk the night before, she married a soldier whose name she can't remember, except that "it had a z in it. Like Ratzkywatzky [...] or was it Zitzkywitzky?" She believes they both used fake names and she doesn't know how to get in touch with him or even what he looks like.
The matter is complicated when she learns that she became pregnant that night as well.  Norval Jones, a local 4-F boy who has been in love with Trudy for years, steps in to help out, but Trudy's over-protective father, a policeman, gets involved and complicates matters. Before long, Norval is arrested on 19 different charges, and then he finds himself on the run as an escaped prisoner.
All seems lost until Trudy gives birth to sextuplets. At that point Governor McGinty and The Boss step in and provide a phone call which results in a happy ending for everyone.
When Norval discovers that Trudy has borne not just one son but six, he faints, and the movie ends with this epilogue on a title card:But Norval recovered andbecame increasingly happyfor, as Shakespeare said:"Some are born great, someachieve greatness, and somehave greatness thrust uponthem."        THE END.
Who is the policeman's daughter partial to?

Passage: By the 1920s, Baylis concluded that the Old Vic no longer sufficed to house both her theatre and her opera companies. She noticed the empty and derelict Sadler's Wells theatre in Rosebery Avenue, Islington, on the other side of London from the Old Vic.  She sought to run it in tandem with her existing theatre.Baylis made a public appeal for funds in 1925.  With the help of the Carnegie Trust and many others, she acquired the freehold of Sadler's Wells. Work started on the site in 1926.  By Christmas 1930, a completely new 1,640-seat theatre was ready for occupation. The first production there, a fortnight's run from 6 January 1931, was Shakespeare's Twelfth Night. The first opera, given on 20 January, was Carmen. Eighteen operas were staged during the first season.The new theatre was more expensive to run than the Old Vic, as a larger orchestra and more singers were needed, and box office receipts were at first inadequate. In 1932, the Birmingham Post commented that the Vic-Wells opera performances did not reach the standards of the Vic-Wells Shakespeare productions. Baylis strove to improve operatic standards, while at the same time fending off attempts by Sir Thomas Beecham to absorb the opera company into a joint enterprise with Covent Garden, where he was in command.  At first, the apparent financial security of the offer appeared attractive, but friends and advisers such as Edward J. Dent and Clive Carey convinced Bayliss that it was not in the interests of her regular audience. This view received strong support from the press; The Times wrote:
The Old Vic began by offering opera of some sort to people who hardly knew what the word meant ... under a wise, fostering guidance it has gradually worked upwards ...Any kind of amalgamation which made it the poor relation of the 'Grand' season would be disastrous.
What is the name of the existing theatre Baylis sought to run in tandem with Sadler's Wells theatre?

Passage: Colour lies at the heart of Messiaen's music. He believed that terms such as "tonal", "modal" and "serial" are misleading analytical conveniences. For him there were no modal, tonal or serial compositions, only music with or without colour. He said that Claudio Monteverdi, Mozart, Chopin, Richard Wagner, Mussorgsky and Stravinsky all wrote strongly coloured music.In some of Messiaen's scores, he notated the colours in the music (notably in Couleurs de la cité céleste and Des canyons aux étoiles...)—the purpose being to aid the conductor in interpretation rather than to specify which colours the listener should experience. The importance of colour is linked to Messiaen's synaesthesia, which he said caused him to experience colours when he heard or imagined music (he said that he did not perceive the colours visually). In his multi-volume music theory treatise Traité de rythme, de couleur, et d'ornithologie ("Treatise of Rhythm, Colour and Birdsong"), Messiaen wrote descriptions of the colours of certain chords. His descriptions range from the simple ("gold and brown") to the highly detailed ("blue-violet rocks, speckled with little grey cubes, cobalt blue, deep Prussian blue, highlighted by a bit of violet-purple, gold, red, ruby, and stars of mauve, black and white. Blue-violet is dominant").When asked what Messiaen's main influence had been on composers, George Benjamin said, "I think the sheer ... colour has been so influential, ... rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element, ... the fundamental material of the music itself.".

What is the full name of the person who said that "rather than being a decorative element, [Messiaen showed that colour] could be a structural, a fundamental element"?