nc33/multispan_quoref huggingface dataset:
Teenager Ellie Masters is orphaned after her prostitute mother and one of her johns are clobbered with a hammer, and the house set on fire. Calvin Carruthers, a detective investigating Ellie's mother's murder, takes an avid interest in her wellbeing. Ellie is sent to an isolated orphanage run by the sadistic Mrs. Deere, and her handyman, Tom Kredge. The day before Ellie arrives, one of the orphans, Ernest, attempts to escape, and is chased by Kredge, who cuts off his hand and leaves him to bleed to death.
After arriving at the orphanage, Ellie soon finds that Mrs. Deere runs it like a workhouse, and the children are forced to complete incessant physical tasks while she and Kredge split the monthly welfare checks. Harold Mullins, a social worker responsible for overseeing the orphanage, is easily swayed by Mrs. Deere and overlooks inconsistencies he observes in the house. Before Mullins arrives to inspect the orphanage and complete a head count, Mrs. Deere and Kredge retrieve the bodies of several deceased orphans from a basement freezer, and pose them in beds in the infirmary to appear as though they are ill. Also stored in the freezer is the body of Mrs. Deere's dead husband, whom she occasionally speaks to as though he is alive.

Question: Who has his hand cut off and dies?
Answer: Ernest
Teenager Ellie Masters is orphaned after her prostitute mother and one of her johns are clobbered with a hammer, and the house set on fire. Calvin Carruthers, a detective investigating Ellie's mother's murder, takes an avid interest in her wellbeing. Ellie is sent to an isolated orphanage run by the sadistic Mrs. Deere, and her handyman, Tom Kredge. The day before Ellie arrives, one of the orphans, Ernest, attempts to escape, and is chased by Kredge, who cuts off his hand and leaves him to bleed to death.
After arriving at the orphanage, Ellie soon finds that Mrs. Deere runs it like a workhouse, and the children are forced to complete incessant physical tasks while she and Kredge split the monthly welfare checks. Harold Mullins, a social worker responsible for overseeing the orphanage, is easily swayed by Mrs. Deere and overlooks inconsistencies he observes in the house. Before Mullins arrives to inspect the orphanage and complete a head count, Mrs. Deere and Kredge retrieve the bodies of several deceased orphans from a basement freezer, and pose them in beds in the infirmary to appear as though they are ill. Also stored in the freezer is the body of Mrs. Deere's dead husband, whom she occasionally speaks to as though he is alive.

Question: Who shares the money with Kredge?
Answer: Mrs. Deere
something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.

Question: What was the full name of the person whose orchestrations who be simpler than those of Robert Russell Bennett?
Answer: Don Walker
something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.

Question: What was the original name of the show Me and Juliet?
Answer: Hercules and Juliet
something bizarre, to stand out and amaze us, the better to set off the plain life of the actor ... We shall imagine some rather advanced musical of the near future, something beyond even Allegro, with archetypical characters—a simple hero and his lovable Juliet, the rapacious Don Juan and his volatile Carmen. Then the audience will always know where it is. Contrast is the key. The show-within must look and sound, at every moment, as far from real life as possible.
Hammerstein included an incident he had seen when he was a neophyte assistant stage manager: a chorus boy came up to a chorus girl and asked to use some of her mascara—to disguise a hole in the boy's black socks. Hammerstein stated, "we were religious in keeping away from the trite things—the kindly old stage door man named Pop, the pretty little understudy who replaces the star on opening night. We steered clear, too, of the backstage story of a company putting on a new show, with all the anxieties of the actors and producers ... It seemed right to focus on a show which is already running because we wanted to tell a story about a community, the backstage community, and this community becomes settled and established after a show opens."In addition to Abbott, the duo recruited other professionals experienced in musical comedy. Choreographer Robert Alton had worked in such hits as Panama Hattie and in movie musicals. Don Walker was hired to do the orchestrations; his would be simpler than those of Robert Russell Bennett, who usually performed that function in the pair's musicals but who was not available. Irene Sharaff was engaged to design the more than 300 costumes which would be needed. The show was originally named Hercules and Juliet, but they soon changed it to Me and Juliet. The Majestic Theatre, which Rodgers and Hammerstein desired to have for Me and Juliet, was currently occupied by their South Pacific, four years into its run. Arrangements were made to shift South Pacific to the Broadway Theatre though, due to schedule conflicts, this meant moving that show to Boston for five weeks.

Question: What was the name of the show that had to be moved to Boston for  five weeks?
Answer: South Pacific
A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.

Question: What is the exact name of the character who tells the audience of the girl he is determined not to marry, Carmen?
Answer: Me
A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.

Question: To whom does the producer give the role of Carmen?
Answer: Betty
A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.

Question: What are the names of the two individuals whose dates the rest of the cast is aware of?
Answer: Larry, Jeanie
A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.

Question: What are the names of the two individuals one dancer spotted in a chill restaurant on Eighth Avenue?
Answer: Larry, Jeanie
A half-hour remains before the show is to begin. Electrician Sidney and chorus girl Jeanie are irritated at Sidney's fellow electrician, Bob, for not being there. Sidney needs Bob's help; Jeanie, Bob's girlfriend, is annoyed at being stood up. Sidney warns Jeanie that Bob may not be the right man for her; these are doubts she has too (Musical numbers: "A Very Special Day"/"That's the Way it Happens").
Jeanie leaves, and Bob appears. Bob tells Sidney he likes dating Jeanie, but does not plan to marry her. When Sidney jokes that Jeanie can do better than Bob, the larger man momentarily chokes him. Jeanie sees this, adding to her doubts about Bob. Larry, the assistant stage manager, is also attracted to Jeanie (reprise of "That's the Way it Happens").
Stage manager Mac sees to the final preparations, and the overture to the internal show is played by the orchestra, led by Dario, the conductor ("Overture to Me and Juliet"). The internal show's curtain rises ("Marriage Type Love"): the main male character, "Me" (performed by Charlie, a singer), tells the audience about the girl he wants to marry, Juliet (Lily, a singer). He also tells the audience of the girl he is determined not to marry, Carmen, who scares him. "Me" feels Carmen (the lead female dancing role) is better suited to his boss, Don Juan (the lead male dancer). As the internal show continues, Bob and Sidney are on the light bridge. Bob identifies with Don Juan for his reluctance to marry ("Keep It Gay").
Another day at Me and Juliet, and the dancers are practicing under Mac's supervision (conclusion of "Keep It Gay"). At Larry's urging, Jeanie decides to audition for the position of second understudy for the role of Juliet. On learning this, Mac takes Larry aside and warns him never to get involved with a cast member of a show while in charge of it. No sooner has Mac said this than his girlfriend Betty (currently in the show across the street) auditions for the role of Carmen. The producer gives her the role. As Larry looks on with amusement, Mac accepts this professionally, then stamps off in disgust.
Jeanie practices for her own audition ("No Other Love"), and Larry tells her that the audience will accept her if she's "a real kid" like Juliet, but reject her if she's a "phony" ("The Big Black Giant"). Larry desires a romance with Jeannie, but fears the larger and stronger Bob.
Several months pass, during which Jeanie gets the job as second understudy. Larry and Jeanie are meeting secretly and keeping their budding romance from Bob. The rest of the cast is aware of their dates—one dancer spotted them in a chili restaurant on Eighth Avenue.
Mac, true to his principles, has dumped Betty, but the two are still attracted to each other. Betty enjoys acting ("It's Me"). As she performs in the internal show, Bob and Sidney are on the light bridge again.

Question: What is the name of the person performing the internal show while Bob and Sidney are on the light bridge again?
Answer: Betty
In the downstairs lounge, a few minutes before the Act 2 curtain for Me and Juliet rises, the ushers comment on the remarkable conclusion to Act 1—although the audience has noticed nothing unusual ("Intermission Talk"). As Act 2 of the internal show starts, an enraged Bob is searching the theatre for Jeannie and Larry. Unable to find them, he takes up position at a bar across the street where he can watch the theatre doors ("It Feels Good"). The perspective shifts to the onstage action in Me and Juliet, where Don Juan and Carmen are on a date ("We Deserve Each Other"), before moving to the manager's office where Larry and Jeanie are hiding out ("I'm Your Girl"). Mac has only just begun his lecture to them when Bob enters through the window, having heard familiar voices. In the ensuing fight, Bob knocks out Mac, but when the electrician grabs for Jeannie, Larry strongly defends her. The fight ends when Bob accidentally hits his head on a radiator and is knocked out as well.
Ruby, the company manager, sends Larry and Jeannie down to the stage to continue the play. After Bob and Mac recover, Ruby informs Bob that Larry and Jeanie had secretly married earlier that day, and the surprised electrician leaves. Mac, fearful of more mayhem, goes in search of him. As Mac exits, the phone rings, and Ruby takes the call. It is the producer, calling for Mac to transfer him to another show, thereby setting him free to resume his romance with Betty.
Onstage, Me and Juliet is concluding. After the internal show finishes ("Finale to Me and Juliet"), Larry, who will be the new stage manager, insists on rehearsing a scene from the show. Seeing Bob enter with a scowl, Larry orders him and Sidney to be present the next morning to re-angle the lights. Taken aback, and rather sheepishly, Bob says "I didn't know you were married" before quietly leaving, after stating, "I'll be here, I guess." Jeanie is congratulated by her showmates, but Larry, all business, waves them to their places to rehearse the scene. As Lily has had to leave, Jeanie stands in for her as Juliet, while Larry sings the part of Me in the scene, as the curtain falls ("Finale of Our Play").

Question: What is the name of the person in whose office Larry and Jeanie hide out?
Answer: Ruby
In the downstairs lounge, a few minutes before the Act 2 curtain for Me and Juliet rises, the ushers comment on the remarkable conclusion to Act 1—although the audience has noticed nothing unusual ("Intermission Talk"). As Act 2 of the internal show starts, an enraged Bob is searching the theatre for Jeannie and Larry. Unable to find them, he takes up position at a bar across the street where he can watch the theatre doors ("It Feels Good"). The perspective shifts to the onstage action in Me and Juliet, where Don Juan and Carmen are on a date ("We Deserve Each Other"), before moving to the manager's office where Larry and Jeanie are hiding out ("I'm Your Girl"). Mac has only just begun his lecture to them when Bob enters through the window, having heard familiar voices. In the ensuing fight, Bob knocks out Mac, but when the electrician grabs for Jeannie, Larry strongly defends her. The fight ends when Bob accidentally hits his head on a radiator and is knocked out as well.
Ruby, the company manager, sends Larry and Jeannie down to the stage to continue the play. After Bob and Mac recover, Ruby informs Bob that Larry and Jeanie had secretly married earlier that day, and the surprised electrician leaves. Mac, fearful of more mayhem, goes in search of him. As Mac exits, the phone rings, and Ruby takes the call. It is the producer, calling for Mac to transfer him to another show, thereby setting him free to resume his romance with Betty.
Onstage, Me and Juliet is concluding. After the internal show finishes ("Finale to Me and Juliet"), Larry, who will be the new stage manager, insists on rehearsing a scene from the show. Seeing Bob enter with a scowl, Larry orders him and Sidney to be present the next morning to re-angle the lights. Taken aback, and rather sheepishly, Bob says "I didn't know you were married" before quietly leaving, after stating, "I'll be here, I guess." Jeanie is congratulated by her showmates, but Larry, all business, waves them to their places to rehearse the scene. As Lily has had to leave, Jeanie stands in for her as Juliet, while Larry sings the part of Me in the scene, as the curtain falls ("Finale of Our Play").

Question: Who is set free to resume his romance with Betty?
Answer: Mac
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the full name of the person who states his doubt that the audience ever believed he and Isabel Bigley were deeply in love?
Answer: Bill Hayes
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the name of the person who lost her husband to Gwen Verdon?
Answer: McCracken
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the name of the person Hayes claimed had lost her baby through miscarriage?
Answer: McCracken
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the full name of the person who did not recall ever having a conversation with Isabel Bigley?
Answer: Bill Hayes
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the name of the person whose baby was in fact aborted?
Answer: McCracken
The musical opened on Broadway on May 28, 1953 at the Majestic Theatre. Large advance sales guaranteed a considerable run; by the start of November, it had paid back its advance, and closed after 358 performances, paying a small profit to RCA. Thomas Hischak, in his The Rodgers and Hammerstein Encyclopedia, suggests that business fell off after the advance sales were exhausted "because audiences had come to expect more from a Rodgers and Hammerstein musical". According to Frederick W. Nolan in his book about the duo's works, "despite a $500,000 advance sale, despite a ten-month run (which, for anyone except Rodgers and Hammerstein, would have represented a major success), and despite an eventual profit in excess of $100,000, Me and Juliet has to be classed as a failure".The backstage drama portrayed in the musical was matched by actual difficulties among the cast. McCracken, who played Betty, was the wife of choreographer Bob Fosse and became pregnant during the run. Bill Hayes later wrote that she lost her baby through miscarriage about the same time she lost her husband to Gwen Verdon. The baby was in fact aborted, because the pregnancy would have endangered McCracken's health as a result of her diabetes. Hayes noted that in the fifteen months he played Larry, he did not recall ever having a conversation with Isabel Bigley, who was supposedly his love interest and wife: "I doubt that the audience ever believed we were deeply in love." The show received no Tony Award nominations. During the run, Hammerstein followed his usual practice of visiting the theatre now and again to ensure that the performers were not taking liberties with his book. Upon his return, Hammerstein's secretary asked him how the show was going. The lyricist thought for a second, then said "I hate that show." According to Bill Hayes in his autobiography Like Sands Through the Hourglass published in 2005 he states We played nearly five hundred performances, however, all to full houses. Production costs were paid off and substantial profits went into the R&H till. So, though not in the same category as the storied five that were made into films - Oklahoma!, Carousel, South Pacific, The King and I and The Sound of Music - our show must be considered a success.No national tour was attempted, but the show did have a six-week run at the Shubert Theatre in Chicago in spring 1954. Among those who played in the chorus during the New York run was future star Shirley MacLaine; Shirley Jones was a chorus girl in the Chicago performances. Subsequent productions include one by Kansas City's Starlight Theatre in 1955. Equity Library Theatre produced it in New York in 1970; it returned to that city, though not to Broadway, in 2002 with the York Theatre. A London production was presented by the Finborough Theatre in 2010 in a fifty-seat theatre; the production was billed as the show's European premiere.

Question: What is the name of the lyricist who directly pronounced, "I hate that show" when asked how Me and Juliet was going?
Answer: Hammerstein