So, I worked with a friend of mine who was a playwright to put together a play to take to the Edinburgh Fringe Festival. It was a three person show, and one of the roles was written specifically for me. Many of the lines were written after we improvised the scenes in my living room as she wrote the piece. Took it to Scotland, where it was quite well received. A year or so later, it was being produced in New York in a much more prestigious setting. I auditioned, was called back a couple times, and got to the play the role again. Fantastic! THEN, it was produced by an even larger theatre. Different producer, different casting director, etc. I went to the open call for it, and the casting director treated me really poorly. It was odd. She looked at my resume and said, "It says you have already played this role." I said, "Yes, I was fortunate enough to workshop it and originate the role." She looked at me like I was lying. I mean, shuttled me out the door like I was a crazy woman. Needless to say, I was not called back. And that was okay(I mean, of course I wanted to do the show with this group of people, but hey, we can't always get what we want). Fast forward to opening night: my playwright friend invites me to see the show. The actress playing "my" role was fantastic, but they had to change lines in the script that indicated what she looked like, because she was of Hawaiian descent. Again, no big dealand she was great! What was strange was meeting the director that evening. My friend introduced me as the originator of the role, and the director asked me why I hadn't auditionedOverall, it wasn't a harsh rejection or a terrible story, it was just weird to have been treated like a liar when I was not lying According to the above context, choose the correct option to answer the following question. Question: How did the casting director react to the actress who originated the role after the play opened? Options: A. She recognized her but pretended she didn't B. She did not recognize her C. She felt hostile towards her D. not enough information
B

(Question)
"To be real honest, Jeffrey, you're not making much progress," said Greg. "Are you practicing at all?" "Well, yeah. Mom makes me. She sits there watching to make sure I'm getting the right fingering and phrasing." "Hmm. I might need to talk to her about that." Greg hated when kids were forced into musicianship. He had been teaching private music lessons for more than ten years, and had seen it often. Parents made their kids miserable. It rarely worked anyway. "You don't really want to take piano, do you?" "No, Sir." "Well... " "I wish my mom would let me take guitar lessons. That would be cool." "You know you'd get calluses like this." Greg held out left hand and showed Jeffrey his fingertips. "Yeah! My friend, Zach, has calluses. They're hard like plastic." "Well, you know, it hurts for a while--until you build them up." "I don't care. I love the guitar. I've been begging Mom to switch me from piano to guitar." "I'll talk to her." "Great! I already have a guitar and--" "--don't get too excited yet. We'll see what she says." "Thanks, Mr. Tenorly." He jumped up and ran for the front door. Then he stopped, rushed back over to grab his piano books, and raced out the door. Greg's 3:30 lesson had been cancelled, so he now had a thirty minute break. Oftentimes, during a break, he would step outside and wander down the sidewalk, observing the townspeople going in and out of the shops around Coreyville Square. But something was bugging him. His dad's birthday party was only a few days away. He hoped he wouldn't regret letting Cynthia talk him into going. According to the above context, choose the correct option to answer the following question. Question: After the story ends, Greg Options: A. gets to learn the guitar B. starts a band with his friend C. not enough information D. quits taking lessons
(Answer)
A

Question: Ironically, J. Paul Getty never saw the Getty Villa. He died two years after his museum opened to the public in January 1974 in a new building modeled on an ancient Roman luxury home. It was not until after Getty's death in June 1976 that he returned from his estate in England to his "ranch" on the Pacific Coast: he is buried there at the edge of the property on a private plot overlooking the ocean, alongside his eldest and youngest sons, George and Timothy, both of whom predeceased him. Following a renovation and reinstallation of the galleries, the Getty Villa opens a new chapter in its history. Although Getty never set eyes on his creation, the story of how he built the Villa and assembled his collection pervades the galleries even today. A suite of revamped roomsGalleries 105 to 108share this history. Featuring ancient works of art Getty bought himself along with archival documents, the new displays place the objects in their cultural contexts and shed light on Getty's personal relationship to his museum and final resting place. From a Ranch House to an Ancient Villa Getty bought the 64-acre ranchonce part of the Rancho Boca de Santa Monica, an early-nineteenth-century 6,656-acre Mexican land grantjust after the end of World War II, intending it as a weekend retreat where his fifth wife Theodora ("Teddy") could ride horses and he could display his growing art collection. He knew the area well, for he already owned a small house on the beach in nearby Santa Monica, just steps from the sprawling complex his friend and rival collector William Randolph Hearst had built for the actress Marion Davies. (The Davies estate is now the Annenberg Community Beach House, while Getty's beach house has been replaced by a large modern condo complex, 270 Palisades Beach Road.) According to the above context, choose the correct option to answer the following question. Question: After the story, how do artists probably view J. Paul Getty? Options: A. with negativity B. with disgust C. with respect and admiration most likely D. not enough information
Answer:
C