Problem: James Whale (22 July 1889 - 29 May 1957) was an English film director, theater director and actor. He is best remembered for his four classic horror films: Frankenstein (1931), The Old Dark House (1932), The Invisible Man (1933) and Bride of Frankenstein (1935). Whale also directed films in other genres, including what is considered the definitive film version of the musical Show Boat (1936). He became increasingly disenchanted with his association with horror, but many of his non-horror films have fallen into obscurity.

After the armistice he returned to Birmingham and tried to find work as a cartoonist. He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position. Later that year he embarked on a professional stage career. Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director. In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man. They were reportedly engaged in 1924, but by 1925 the engagement was off. In 1928 Whale was offered the opportunity to direct two private performances of R.C. Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Capt. Stanhope, the company commander, and Lt. Raleigh, the brother of Stanhope's fiancee. Whale offered the part of Stanhope to the then barely known Laurence Olivier. Olivier initially declined the role, but after meeting the playwright agreed to take it on. Maurice Evans was cast as Raleigh. The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste. The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years. With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh. Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929. The play ran for over a year and cemented its reputation as the greatest play about World War I.

when was the next year something big happened to help his career

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Townsend was born in Leicester, the oldest of five sisters. Her father had worked at a factory making jet engines before becoming a postman, while her mother worked in a factory canteen. She attended Glen Hills Primary School, where the school secretary was Mrs Claricotes, a name she used for the school secretary in the Adrian Mole books. At the age of eight, Townsend contracted mumps, and was obliged to stay at home.
Townsend left school at the age of 14 and worked in a variety of jobs including packer for Birds Eye, a petrol station attendant and a receptionist. Working at a petrol station allowed her the chance to read between serving customers. She married Keith Townsend, a sheet metal worker at 18; the couple had three children under five by the time Townsend was 23 (Sean, Daniel and Victoria), at which point the marriage ended and she became a single parent. In this position, Townsend and her children endured considerable hardship. In Mr Bevan's Dream: Why Britain Needs Its Welfare State (1989), a short book in the Counterblasts series, she recounts an experience from when her eldest child was five. Because the Department of Social Security was unable to give her even 50p to tide them over, she was obliged to feed herself and her children on a tin of peas and an Oxo cube as an evening meal. Townsend would collect used Corona bottles, to redeem the 4p return fee by which to feed her children. Aged 13, her son questioned one Sunday why they didn't go to animal parks on weekends like other families. She later recounted that it was the start of her writing which became the Adrian Mole books, looking at life through the clinical eyes of a teenager but in a comedic manner. Townsend then chose to research the world of teenagers, and started attending youth clubs as a volunteer organiser. This led to her training as a youth worker. While employed as a supervisor at an adventure playground, she observed a man making canoes nearby and, because he was married, put off talking to him; it was a year before he asked her for a date. It was at a canoeing course she met her future second husband, Colin Broadway, who was the father of her fourth child, Elizabeth. Subsequently, she became pregnant twice more, but underwent abortions. Ultimately, Townsend came to believe that termination is wrong. Ghost Children (1997) is a novel which draws on these experiences.
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What was this man's name?

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It was at a canoeing course she met her future second husband, Colin Broadway, who was the father of her fourth child, Elizabeth.