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.

Q: Passage: Steve Everett, an Oakland journalist recovering from alcoholism, is assigned to cover the execution of convicted murderer Frank Beechum following the death of Everett's colleague, Michelle Ziegler, who had originally been assigned to the story.
Everett investigates the background to the case and comes to suspect that Beechum has been wrongly convicted of murdering Amy Wilson. He gets permission from his editor's boss to investigate, and is told that the top editor would call the Governor, and that would do the job, if Everett gets hard proof. He thus has a little over 12 hours to confirm his hunch and save Beechum.
Everett interviews a prosecution witness, Dale Porterhouse, who saw Beechum at the store with a gun. Everett questions Porterhouse's account, saying that, because of the layout of the store, he could not have seen a gun in Beechum's hand.
Everett confronts D.A. Cecelia Nussbaum, who reveals that, a young man, Warren, was interviewed and claimed he had stopped at the store to buy a soda and saw nothing. Everett decides that Warren, never called as a witness, is probably the real killer. He breaks into the deceased reporter's house, suspecting that she had been onto something and finds her file on Warren. Meanwhile, Warden Luther Plunkett also starts to have doubts about Beechum's guilt.
Everett falls out with his bosses and is fired on the spot, but he points out that his contract entitles him to adequate notice. They ask him how much notice he requires, and, looking at his watch, he says 6 hours and 7 minutes. He tracks down Angela Russel, Warren's grandmother. She tells him that her grandson could not have been the murderer, and berates him for the lack of interest from the press when Warren himself was killed in a mugging two years after Amy's murder.

A: Name of the person whose house Everett breaks into?
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Q: Passage: Going west where gold is being found, Jan Morell and wife Mary meet in the Napa, California, valley with his prospector brother Frank, but soon hired gunmen Jack Welch and Hank Purvis steal the gold they have panned and kill Mary.
In town, Frank is killed, as well, and Jan seriously wounded. He is cared for by Felipe de Ortega and sister Elena, who explain that Welch and Purvis work for dishonest Mayor Thomas Ainsworth, who also stole the Ortega family's land and property. An approval of statehood for California could restore law and order, as well as citizens' rights.
Elena fears for their safety, but Jan joins forces with Felipe's men to create havoc in Ainsworth's life, rustling horses and stealing money. A new U.S. marshal, Henderson, places a $5,000 reward on him, but Jan nevertheless captures Purvis and threatens to lynch him if he does not confess to Ainsworth's misdeeds. Elizabeth Ainsworth now begins to understand her father's corrupt ways.
As the gunfighting intensifies, both Welch and Felipe are killed. Jan is arrested and faces the hangman, but Henderson believes in his innocence and is able to release him when statehood wins approval and a general amnesty is granted. Jan and Elena plan a new life together.

A: What is the first name of the person who hired someone to kill Mary?
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Q: Passage: The 1951 Festival production, by Siegfried's and Winifred's son Wieland, broke with tradition and featured an austere staging which replaced scenery and props with skilful lighting effects. The Rhinemaidens, along with all the other characters, were plainly dressed in simple robes, and sang their roles without histrionics. Thus the music and the words became the main focus of attention. Wieland was influenced by Adolphe Appia, whose Notes sur l'Anneau du Nibelungen (1924–25) had been dismissed by Cosima: "Appia seems to be unaware that the Ring was performed here in 1876. It follows that the staging is definitive and sacrosanct." However, Wieland and his brother Wolfgang praised Appia: "... the stylised stage, inspired by the music and the realisation of three-dimensional space – constitute the initial impulses for a reform of operatic stagings which led quite logically to the 'New Bayreuth' style."The innovative centenary Bayreuth Ring, directed by Patrice Chéreau, did away altogether with the underwater concept by setting the Rhinemaiden scenes in the lee of a large hydro-electric dam, as part of a 19th-century Industrial Revolution setting for the operas. For the scene with Siegfried in Götterdämmerung, Chéreau altered the perpetual youth aspect of the Rhine Maidens by depicting them as "no longer young girls merrily disporting themselves; they have become tired, grey, careworn, and ungainly". Since this production "the assumption of unrestricted interpretive license has become the norm". For example, Nikolaus Lehnhoff, in his 1987 Bayerische Staatsoper production, placed the Rhinemaidens in a salon and had their lament at the end of Rheingold played on a gramophone by Loge.

A:
What is the name of the person that claimed that the staging is definitive and sacrosanct?
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