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.
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Question: Passage: The impetus for creating the Ham Wall reserve was the plight of the bittern, with only 11 males present in the UK in the 1997 breeding season. Much of its reed bed habitat was deteriorating, and key coastal sites in eastern England were at risk of salt-water flooding, so an opportunity to create a new inland site was attractive to the RSPB. The peat excavations already had bund walls that allowed the water levels on the reserve to be easily managed in sections, and the workings had removed peat down to the underlying marine clay, a depth of 2 metres (6.6 ft) in this area.Water levels were managed using sluices, pipes and wind-pumps to create reed beds with about 20% open water, and the ditches were deepened and widened to restrict reed encroachment and provide a habitat for fish, particularly common rudd, introduced to provide food for the bitterns. By the completion of major works in 2013, the 260 hectares (640 acres) reserve contained 220 hectares (540 acres) of reed bed, including 75 hectares (190 acres) of deep water channels and ditches, 10 hectares (25 acres) of wet woodland and 30 hectares (74 acres) of grass, the latter being mainly on the bunds and some higher ground.Ham Wall, along with Lakenheath Fen in Suffolk, has been a key part of a bittern recovery programme initiated in 1994 as part of the United Kingdom Biodiversity Action Plan. Both reserves created extensive new reed beds, thereby adding significant additional breeding habitat. Initial funding for the recovery scheme was £60,000 from English Nature in 1994, augmented by two rounds of EU funding in 1996-2000 and 2002-2006. 
Question: In what reserves were new reed beds created?

Answer: Lakenheath Fen.


Question: Passage: Agnes Hurley is a disillusioned housewife, married to Bronx cabdriver Tom Hurley. She wants something better for her daughter, Jane. When Jane announces her engagement to Ralph Halloran, Aggie sees this as an opportunity to have a romantic elaborate wedding, with caterers and all the trimmings, like she never had because they could never afford it. However, the daughter does not want it because it is causing awkward conflicts with her family and friends, and her father has been saving that money for many years to purchase a taxi medallion and become self-employed. The film deals with the ensuing money troubles and conflicts within the family, which also involve Uncle Jack Conlon and most of the neighborhood. It is not until the end of the film that the mother realizes that it is the happiness of her family, rather than the expensive ceremony, that is most important, as they go off to watch their daughter get married at their church in the new taxi. 
Question: What's the name of the person who refuses Agnes Hurley's wishes for an elaborate wedding?

Answer: Jane.


Question: Passage: The Sitwells looked after their protégé both materially and culturally, giving him not only a home but a stimulating cultural education. He took music lessons with Ernest Ansermet, Ferruccio Busoni and Edward J. Dent. He attended the Russian ballet, met Stravinsky and Gershwin, heard the Savoy Orpheans at the Savoy Hotel and wrote an experimental string quartet heavily influenced by the Second Viennese School that was performed at a festival of new music at Salzburg in 1923. Alban Berg heard the performance and was impressed enough to take Walton to meet Arnold Schoenberg, Berg's teacher and the founder of the Second Viennese School.In 1923, in collaboration with Edith Sitwell, Walton had his first great success, though at first it was a succès de scandale. Façade was first performed in public at the Aeolian Hall, London, on 12 June. The work consisted of Edith's verses, which she recited through a megaphone from behind a screen, while Walton conducted an ensemble of six players in his accompanying music. The press was generally condemnatory. Walton's biographer Michael Kennedy cites as typical a contemporary headline: "Drivel That They Paid to Hear". The Daily Express loathed the work, but admitted that it was naggingly memorable. The Manchester Guardian wrote of "relentless cacophony". The Observer condemned the verses and dismissed Walton's music as "harmless". In The Illustrated London News, Dent was much more appreciative: "The audience was at first inclined to treat the whole thing as an absurd joke, but there is always a surprisingly serious element in Miss Sitwell's poetry and Mr Walton's music ... which soon induced the audience to listen with breathless attention." In The Sunday Times, Ernest Newman said of Walton, "as a musical joker he is a jewel of the first water".Among the audience were Evelyn Waugh, Virginia Woolf and Noël Coward. The last was so outraged by the avant-garde nature of Sitwell's verses and the staging, that he marched out ostentatiously during the performance. The players did not like the music: the clarinettist, Charles Draper asked the composer, "Mr Walton, has a clarinet player ever done you an injury?" Nevertheless, the work soon became accepted, and within a decade Walton's music was used for the popular Façade ballet, choreographed by Frederick Ashton. 
Question: What is the name of the person who attended the Russian ballet, met Stravinsky and Gershwin, and heard the Savoy Orpheans at the Savoy Hotel?

Answer:
Walton.