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.

Ex Input:
Passage: Roy DuBro and Ed Klingbottom are garbage men who are constantly undermined by their corrupt boss Junior Assistant Dispatcher Trainee Stanley Snyder.
One day, the earth is secretly invaded by an army of flying saucers, commanded by a Darth Vader-esque alien called Glaxxon. A saucer abducts the two men and the aliens on board attempt to vivisect them. They awaken just in time and escape back to earth with an alien fire extinguisher. When they arrive late for work and try to tell Stanley about the aliens, he doesn't believe them, having heard every alien story ever from fellow worker Old Bob.
President Smith and his significantly more competent press secretary receive news about the invasion from General Vice and the President tells his advisor, Dr. Strangemeister, to find two people with alien experience and make them into secret agents. Unbeknownst to anyone, Strangemeister is secretly in league with Glaxon, who is infuriated by Ed and Roy's interference. Strangemeister hires the two of them, believing that they are destined to fail and transforms them into 'The Men in White'.
The aliens start abducting people all over the world. Roy suggests the two of them use a cow as bait. The plan works and they successfully capture an alien spaceship. They discover a device that makes them forget the last several seconds, and the two of them get stuck in a continuous loop for several hours until its batteries run down.
Question: Who hires the garbage men who work for a corrupt boss as secret agents??

Ex Output:
Dr. Strangemeister.

Ex 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 Janacek. 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 theatre did the Sadler's Wells company perform prior to 1968?

Ex Output:
Islington theatre.

Ex Input:
Passage: The Mothers of Invention played in New York in late 1966 and were offered a contract at the Garrick Theater (at 152 Bleecker Street, above the Cafe au Go Go) during Easter 1967. This proved successful and Herb Cohen extended the booking, which eventually lasted half a year. As a result, Zappa and his wife, along with the Mothers of Invention, moved to New York. Their shows became a combination of improvised acts showcasing individual talents of the band as well as tight performances of Zappa's music. Everything was directed by Zappa using hand signals. Guest performers and audience participation became a regular part of the Garrick Theater shows. One evening, Zappa managed to entice some U.S. Marines from the audience onto the stage, where they proceeded to dismember a big baby doll, having been told by Zappa to pretend that it was a "gook baby".Zappa uniquely contributed to the avant-garde, anti-establishment music scene of the 1960s, sampling radio tape recordings and incorporating his own philosophical ideals to music and freedom of expression in his pieces. Bands such as AMM and Faust also contributed to the radio sampling techniques of the 1960s. Situated in New York, and only interrupted by the band's first European tour, the Mothers of Invention recorded the album widely regarded as the peak of the group's late 1960s work, We're Only in It for the Money (released 1968). It was produced by Zappa, with Wilson credited as executive producer. From then on, Zappa produced all albums released by the Mothers of Invention and as a solo artist. We're Only in It for the Money featured some of the most creative audio editing and production yet heard in pop music, and the songs ruthlessly satirized the hippie and flower power phenomena. He sampled plundered surf music in We're only in It for the Money, as well as the Beatles' tape work from their song Tomorrow Never Knows. The cover photo parodied that of the Beatles' Sgt. Pepper's Lonely Hearts Club Band. The cover art was provided by Cal Schenkel whom Zappa met in New York. This initiated a lifelong collaboration in which Schenkel designed covers for numerous Zappa and Mothers albums.Reflecting Zappa's eclectic approach to music, the next album, Cruising with Ruben & the Jets (1968), was very different. It represented a collection of doo-wop songs; listeners and critics were not sure whether the album was a satire or a tribute. Zappa later noted that the album was conceived in the way Stravinsky's compositions were in his neo-classical period: "If he could take the forms and cliches of the classical era and pervert them, why not do the same ... to doo-wop in the fifties?" A theme from Stravinsky's The Rite of Spring is heard during one song.
Question: What is the name of the album Zappa later noted was conceived in the way Stravinsky's compositions were in his neo-classical period?

Ex Output:
Cruising with Ruben & the Jets.