In this task, you're given passages that contain mentions of names of people, places, or things. Some of these mentions refer to the same person, place, or thing. Your job is to write questions that evaluate one's understanding of such references. Good questions are expected to link pronouns (she, her, him, his, their, etc.) or other mentions to people, places, or things to which they may refer. Do not ask questions that can be answered correctly without understanding the paragraph or having multiple answers. Avoid questions that do not link phrases referring to the same entity. For each of your questions, the answer should be one or more phrases in the paragraph, and it should be unambiguous.
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Question: Passage: After learning that Texian troops had attacked Castañeda at Gonzales, Cos made haste for Béxar. Unaware of his departure, on October 6, Texians in Matagorda marched on Presidio La Bahía in Goliad to kidnap him and steal the $50,000 that was rumored to accompany him. On October 10, approximately 125 volunteers, including 30 Tejanos, stormed the presidio.  The Mexican garrison surrendered after a thirty-minute battle. One or two Texians were wounded and three Mexican soldiers were killed with seven more wounded.The Texians established themselves in the presidio, under the command of Captain Philip Dimmitt, who immediately sent all the local Tejano volunteers to join Austin on the march to Béxar. At the end of the month, Dimmitt sent a group of men under Ira Westover to engage the Mexican garrison at Fort Lipantitlán, near San Patricio.  Late on November 3, the Texians took the undermanned fort without firing a shot.  After dismantling the fort, they prepared to return to Goliad.  The remainder of the Mexican garrison, which had been out on patrol, approached. The Mexican troops were accompanied by 15–20 loyal centralists from San Patricio, including all members of the ayuntamiento.  After a thirty-minute skirmish, the Mexican soldiers and Texian centralists retreated. With their departure, the Texian army controlled the Gulf Coast, forcing Mexican commanders to send all communication with the Mexican interior overland. The slower land journey left Cos unable to quickly request or receive reinforcements or supplies.On their return to Goliad, Westover's group encountered Governor Viesca.  After being freed by sympathetic soldiers, Viesca had immediately traveled to Texas to recreate the state government.  Dimmitt welcomed Viesca but refused to recognize his authority as governor.  This caused an uproar in the garrison, as many supported the governor.  Dimmitt declared martial law and soon alienated most of the local residents.  Over the next few months, the area between Goliad and Refugio descended into civil war.  Goliad native Carlos de la Garza led a guerrilla warfare campaign against the Texian troops.  According to historian Paul Lack, the Texian "antiguerilla tactics did too little to crush out opposition but quite enough to sway the uncommitted toward the centralists.".

Answer: What is the name of the person who Texians in Matagorda planned to kidnap when they marched on Presidio Bahía in Goliad?


Question: Passage: Phaedra is a poor Greek sponge diver on the island of Hydra. She works from the boat of her boyfriend, Rhif, an illegal immigrant from Albania. She accidentally finds an ancient Greek statue of a boy riding a dolphin on the bottom of the Aegean Sea. Her efforts to sell it to the highest bidder lead her to two competing individuals: Dr. James Calder, an honest archaeologist who will surrender it to Greek authorities, and Victor Parmalee, an aesthete and an unscrupulous dealer with a history of trying to acquire works of art stolen by the Nazis from their owners.
Calder and Parmalee each try to win Phaedra's cooperation. She works in concert with Parmalee, while developing feelings for Calder. When she seems to waver, Rhif decides to make the deal with Parmalee work. The film reaches a happy conclusion, with virtue rewarded, the statue celebrated by the people of Hydra, and Phaedra and Calder in each other's arms. Parmalee, a man with no apparent national loyalties or heritage, sets course for Monte Carlo.

Answer: Who is dating an illegal immigrant?


Question: Passage: In 1982, at Elder's instigation, Harewood appointed David Pountney director of productions. In 1985 Harewood retired, becoming chairman of ENO's board the following year.  Peter Jonas succeeded Harewood as managing director. The 1980s leadership team of Elder, Pountney and Jonas became known as the "Powerhouse", initiated a new era of "director's opera". The three of them favoured productions described, contrastingly, by Elder as "groundbreaking, risky, probing and theatrically effective", and by the director Nicholas Hytner as "Euro-bollocks that never has to be comprehensible to anybody but the people sitting out there conceiving." Directors who did not, in Harewood's phrase, "want to splash paint in the face of the public" were sidelined. A 1980s audience survey showed that the two things that ENO audiences most disliked were poor diction and the extremes of "director's opera".
In the Grove Dictionary of Music and Musicians, Barry Millington has described the 'Powerhouse' style as "arresting images of dislocated reality, an inexhaustible repertory of stage contrivances, a determination to explore the social and psychological issues latent in the works, and above all an abundant sense of theatricality." As examples, Millington mentioned Rusalka (1983), with its Edwardian nursery setting and Freudian undertones, and Hansel and Gretel (1987), its dream pantomime peopled by fantasy figures from the children's imagination  ... Lady Macbeth of the Mtsensk District (1987) and Wozzeck (1990) exemplified an approach to production in which grotesque caricature jostles with forceful emotional engagement.
Poor average box-office sales led to a financial crisis, exacerbated by backstage industrial relations problems. After 1983, the company ceased touring to other British venues. Assessing the achievements of the 'Powerhouse' years, Tom Sutcliffe wrote in The Musical Times:
ENO is not second best to Covent Garden. It is different, more theatrical, less vocal. ... The ENO now follows a policy like Covent Garden's in the early years after the war, when Peter Brook was scandalising the bourgeoisie with his opera stagings. The last two seasons at the ENO have been difficult, or at any rate sentiment has turned against the outgoing regime over the last nine months. Audience figures are well down. ... The presiding genius of the Elder years has, of course, been David Pountney. Not because his productions were all marvellous. Perhaps only a few were. But because, like Elder, he enabled so many other talents to thrive.

Answer:
What are the first names of the two people who along with Elder became known as the "Powerhouse?"?