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.

Example Input: Passage: Zappa's relationship with long-time manager Herb Cohen ended in 1976. Zappa sued Cohen for skimming more than he was allocated from DiscReet Records, as well as for signing acts of which Zappa did not approve. Cohen filed a lawsuit against Zappa in return, which froze the money Zappa and Cohen had gained from an out-of-court settlement with MGM over the rights of the early Mothers of Invention recordings. It also prevented Zappa having access to any of his previously recorded material during the trials. Zappa therefore took his personal master copies of the rock-oriented Zoot Allures (1976) directly to Warner Bros., thereby bypassing DiscReet.In the mid-1970s Zappa prepared material for Läther (pronounced "leather"), a four-LP project. Läther encapsulated all the aspects of Zappa's musical styles—rock tunes, orchestral works, complex instrumentals, and Zappa's own trademark distortion-drenched guitar solos. Wary of a quadruple-LP, Warner Bros. Records refused to release it. Zappa managed to get an agreement with Phonogram Inc., and test pressings were made targeted at a Halloween 1977 release, but Warner Bros. prevented the release by claiming rights over the material. Zappa responded by appearing on the Pasadena, California radio station KROQ, allowing them to broadcast Läther and encouraging listeners to make their own tape recordings. A lawsuit between Zappa and Warner Bros. followed, during which no Zappa material was released for more than a year. Eventually, Warner Bros. issued different versions of much of the Läther material in 1978 and 1979 as four individual albums (five full-length LPs) with limited promotion.Although Zappa eventually gained the rights to all his material created under the MGM and Warner Bros. contracts, the various lawsuits meant that for a period Zappa's only income came from touring, which he therefore did extensively in 1975–77 with relatively small, mainly rock-oriented, bands. Drummer Terry Bozzio became a regular band member, Napoleon Murphy Brock stayed on for a while, and original Mothers of Invention bassist Roy Estrada joined. Among other musicians were bassist Patrick O'Hearn, singer-guitarist Ray White and keyboardist/violinist Eddie Jobson. In December 1976, Zappa appeared as a featured musical guest on the NBC television show Saturday Night Live. Zappa's song "I'm the Slime" was performed with a voice-over by SNL booth announcer Don Pardo, who also introduced "Peaches En Regalia" on the same airing. In 1978, Zappa served both as host and musical act on the show, and as an actor in various sketches. The performances included an impromptu musical collaboration with cast member John Belushi during the instrumental piece "The Purple Lagoon". Belushi appeared as his Samurai Futaba character playing the tenor sax with Zappa conducting. 
Question: What was the first name of the man who filed a lawsuit that froze money he'd been awarded with Zappa?
Example Output: Herb.

Example Input: 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 are the names of the people that wrote the opera The Mikado?
Example Output: Gilbert.

Example Input: Passage: In a collection of Renaissance metalwork Benvenuto Cellini (1500–71) represents the ultimate attribution, as his genuine works as a goldsmith are rarer than paintings by Giorgione.  In his 1902 catalogue Charles Hercules Read mentions that many of the pendants had been attributed to Cellini, but refrains from endorsing the attributions.  A small silver hand-bell (WB.95) had belonged to Horace Walpole, who praised it extravagantly in a letter as "the uniquest thing in the world, a silver bell for an inkstand made by Benvenuto Cellini. It makes one believe all the extravagant encomiums he bestows on himself; indeed so does his Perseus. Well, my bell is in the finest taste, and is swarmed by caterpillars, lizards, grasshoppers, flies, and masques, that you would take it for one of the plagues of Egypt. They are all in altissimo, nay in out-issimo relievo and yet almost invisible but with a glass. Such foliage, such fruitage!"  However Baron Ferdinand had realized that it was more likely to be by Wenzel Jamnitzer, goldsmith to the Emperor Rudolf II, to whom it is still attributed.  Another piece no longer attributed to Cellini is a large bronze door-knocker, with a figure of Neptune, 40 cm high, and weighing over 11 kilos.One category of the bequest that has seen several demotions is the 16 pieces and sets of highly decorated cutlery (WB.201–216).  Read dated none of these later than the 17th century, but on the British Museum database in 2014 several were dated to the 19th century, and were recent fraudulent creations when they entered the collection, some made by Reinhold Vasters.  Doubts have also been raised over a glass cup and cover bearing the date 1518 (WB.59), which might in fact be 19th-century.  Eight pieces of silver plate were redated to the 19th century by Hugh Tait, and some of the jewellery. 
Question: What is the first name of the person who dated none of the 16 pieces and sets of highly decorated cutlery later than the 17th century?
Example Output:
Charles.