Problem: Background: Tallulah Brockman Bankhead (January 31, 1902 - December 12, 1968) was an American actress of the stage and screen. Bankhead was known for her husky voice, outrageous personality, and devastating wit. Originating some of the 20th century theater's preeminent roles in comedy and melodrama, she gained acclaim as an actress on both sides of the Atlantic.
Context: Bankhead appeared in a revival of Noel Coward's Private Lives, taking it on tour and then to Broadway for the better part of two years. The play's run made Bankhead a fortune. From that time, Bankhead could command 10% of the gross and was billed larger than any other actor in the cast, although she usually granted equal billing to Estelle Winwood, a frequent co-star and close friend from the 1920s until Bankhead's death in 1968. In 1950, in an effort to cut into the rating leads of The Jack Benny Program and The Edgar Bergen and Charlie McCarthy Show, which had jumped from NBC radio to CBS radio the previous season, NBC spent millions over the two seasons of The Big Show starring "the glamorous, unpredictable" Tallulah Bankhead as its host, in which she acted not only as mistress of ceremonies, but also performed monologues (often written by Dorothy Parker) and songs. Despite Meredith Willson's Orchestra and Chorus and top guest stars from Broadway, Hollywood, and radio, The Big Show, which earned rave reviews, failed to do more than dent Jack Benny and Edgar Bergen's ratings. The next season, NBC installed her as one of a half-dozen rotating hosts of NBC's The All Star Revue on Saturday nights. Bankhead was director Irving Rapper's first choice for the role of Amanda in the film version of Tennessee William's The Glass Menagerie. Laurette Taylor, who originated the role of Amanda, was an idol of Bankhead's and also an alcoholic, whose brilliant performance in the original Broadway production reversed years of career decline. Rapper called Bankhead's screen test the greatest performance he had ever seen: "I thought she was going to be difficult, but she was like a child, so sweet and lovely. I was absolutely floored by her performance. It's the greatest test I've ever made or seen in my life. I couldn't believe I was seeing such reality. Bankhead was absolutely natural, so moving, so touching without even trying. The crew was stunned, too." But studio head Jack Warner rejected the idea because of his fear of Tallulah's drinking; though she promised not to drink during shooting, he refused to give her the part. The role was given to Gertrude Lawrence instead, whose acting was panned by most critics.
Question: Was the movie successful?
Answer: The role was given to Gertrude Lawrence instead, whose acting was panned by most critics.

Problem: Background: Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.
Context: In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role. After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage. Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.
Question: Did Irving have a wife?
Answer:

Problem: Background: Indigenous peoples of Mexico (Spanish: pueblos indigenas de Mexico), Native Mexicans (Spanish: nativos mexicanos), or Mexican Native Americans (Spanish: nativo america mexicanos), are those who are part of communities that trace their roots back to populations and communities that existed in what is now Mexico prior to the arrival of Europeans. According to the National Commission for the Development of Indigenous Peoples (Comision Nacional para el Desarrollo de los Pueblos Indigenas, or CDI in Spanish) and the INEGI (official census institute), in 2015, 25,694,928 people in Mexico self-identify as being indigenous of many different ethnic groups, which constitute 21.5% of Mexico's population.
Context: According to the National Commission for the Development of the Indigenous Peoples (CDI), there were 25,694,928 indigenous people reported in Mexico in 2015, which constitutes 21.5% of the population of Mexico. This is a significant increase from the 2010 census, in which indigenous Mexicans accounted for 14.9% of the population, and numbered 15,700,000 Most indigenous communities have a degree of financial, political autonomy under the legislation of "usos y costumbres", which allows them to regulate internal issues under customary law. The indigenous population of Mexico has in recent decades increased both in absolute numbers as-well as a percentage of the population. This is largely due to increased self-identification as indigenous, as-well as indigenous women having higher birth rates as compared to the Mexican average. Indigenous peoples are more likely to live in more rural areas, than the Mexican average, but many do reside in urban or suburban areas, particularly, in the central states of Mexico, Puebla, Tlaxcala, the Federal District and the Yucatan Peninsula. According to the CDI, the states with the greatest percentage of indigenous population are: Yucatan, with 65.40%, Quintana Roo with 44.44% and Campeche with 44.54% of the population being indigenous, most of them Maya; Oaxaca with 65.73% of the population, the most numerous groups being the Mixtec and Zapotec peoples; Chiapas has 36.15%, the majority being Tzeltal and Tzotzil Maya; Hidalgo with 36.21%, the majority being Otomi; Puebla with 35.28%, and Guerrero with 33.92%, mostly Nahua people and the states of San Luis Potosi and Veracruz both home to a population of 19% indigenous people, mostly from the Totonac, Nahua and Teenek (Huastec) groups.
Question: Is the growth due in part to people living longer?
Answer:
This is largely due to increased self-identification as indigenous, as-well as indigenous women having higher birth rates