instruction:
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.
question:
Passage: Right before closing time Karen Kirsten and Jenny Johnsen, who work as waitresses at an Oslo night club, get an offer from the National Studios assistant director Jensen. He promises to make them both famous, and wants to give them screen test auditions. They accept the offer, and the very next day the girls show up at the film studio to try out for roles in the company's new production "Countess of Monte Cristo". There are two roles available: the countess herself and her maid.
However, the director, Mr. Hansen, manages to insult the young women gravely, and they leave the studios in anger, taking one of the studio's fancy cars as their ride while still wearing the costumes from the production. They drive to the luxurious Hotel Trollheimen, and use the costumes to lure the management into thinking they really are a countess and her maid. On the outside they encounter army Lt. Paul Von Cram, who is so captivated by their appearance - especially Karen's - that he offers to carry their suitcases up to their hotel suite. Because of this the two women mistake Paul for a bellboy.
Paul decides to cancel his imminent date with socialite woman Peg Manning, since he now has his eyes set on Karen. He then sends Karen a note at the hotel, asking her to meet "a lieutenant" at the hotel bar. Karen is intrigued by this and has no idea that it is Paul she is meeting. She makes a makeshift dress out of the curtains in the suite and goes down to meet the lieutenant. Arriving at the bar she instantly realises her earlier mistake.
Jenny discovers that they have been listed as thieves and wanted refugees from the law in a newspaper article. In a desperate attempt to hide this from the people at the hotel she buys every available newspaper she can find.
answer:
What are the first names of the people who are promised to become famous?


question:
Passage: Following the purchase of two of his paintings by the Prussian Crown Prince, Friedrich was elected a member of the Berlin Academy in 1810. Yet in 1816, he sought to distance himself from Prussian authority and applied that June for Saxon citizenship. The move was not expected; the Saxon government was pro-French, while Friedrich's paintings were seen as generally patriotic and distinctly anti-French. Nevertheless, with the aid of his Dresden-based friend Graf Vitzthum von Eckstädt, Friedrich attained  citizenship, and in 1818, membership in the Saxon Academy with a yearly dividend of 150 thalers. Although he had hoped to receive a full professorship, it was never awarded him as, according to the German Library of Information, "it was felt that his painting was too personal, his point of view too individual to serve as a fruitful example to students." Politics too may have played a role in  stalling his career: Friedrich's decidedly Germanic subjects and costuming frequently clashed with the era's prevailing pro-French attitudes.
answer:
What is the first name of the man that the Dresden-based person helped attain membership into the Saxon Academy?


question:
Passage: Impresario and author John Hollingshead, the lessee of London's Gaiety Theatre since 1868, had produced a number of successful musical burlesques and operettas there. Indeed, Hollingshead "boasted that he kept alight 'the sacred lamp of burlesque.'" Gilbert and Sullivan were each well acquainted with the Gaiety and its house artistes.  Gilbert's Robert the Devil (a burlesque of the opera Robert le Diable) had been on the programme on the theatre's opening night on 21 December 1868, with Nellie Farren in the title role, and played successfully for over 100 nights. Constance Loseby and Annie Tremaine (both of whom had roles in Thespis) were also in the cast of Robert, and Arthur Sullivan was in the audience on that opening night as one of Hollingshead's guests. It was a great success, "received with a storm of approbation". Less successfully, Gilbert had also written a play for the theatre in 1869 called An Old Score. Hollingshead would later say that the piece was "too true to nature". By late September or early October 1871, Gaiety programmes announced that "The Christmas Operatic Extravaganza will be written by W. S. Gilbert, with original music by Arthur Sullivan." There would be prominent roles for the popular comedian J. L. Toole, as well as Farren, the theatre's star "principal boy" in all of its burlesques.
How and when the pair came to collaborate on Thespis is uncertain. Gilbert was a logical choice for the assignment. With seven operas and plays premièring that year and over a dozen other burlesques, farces and extravaganzas under his belt, he was well known to London theatregoers as a comic dramatist. Sullivan, however, was at this point mainly known for his serious music. His completed music that year included the choral cantata On Shore and Sea, a suite of incidental music for Shakespeare's The Merchant of Venice, and numerous hymns, including "Onward, Christian Soldiers". He did have two comic operas to his credit, Cox and Box (1866) and The Contrabandista (1867), but the latter was four years in the past and had been unsuccessful. In September 1871, Sullivan had been engaged to conduct at The Royal National Opera, but it failed abruptly, leaving him unexpectedly without commitments. Hollingshead's offer of a role to his brother, Fred Sullivan, may have encouraged him to write the music for Thespis.The production "aroused a great deal of interest and speculation". Ironically, it had "probably the largest audience" of any Gilbert and Sullivan première, as the Gaiety was the largest of the five London theatres at which their joint works premièred.
answer:

What was the name of the unsuccessful comic opera by the man mainly known for his serious music?