[Q]: Given the below context:  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 Janáček. 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...  Guess a valid title for it!
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[A]: English National Opera


input: Please answer the following: Given the below context:  Actress Georgia Hines is released from alcohol rehab and returns to her Manhattan apartment and her supportive friends: Jimmy, a gay unemployed actor, and Toby, a sophisticated socialite. She tells them she will maintain her sobriety and slowly ease back into theatre work. Soon after, Georgia's teenaged daughter Polly, who has been living with her father and her new stepmother, asks if she could move in with her mother. Georgia agrees, although not confident that she is ready. Georgia receives a phonecall from her ex-lover, writer David Lowe, who asks if they can meet. With a renewed sense of confidence, she strongly refuses and hangs up. Polly discusses her personal suffering due to Georgia's alcoholism, foremost not being allowed to grow up with her mother. Georgia's feels more confidence, even calling David to apologize and agreeing to meet him for dinner. At dinner, David presents his new script, based on their turbulent, alcohol-filled relationship. He wants Georgia to play the lead/herself. Furious that David brought her there for business, Georgia makes a scene. He calmly asks her to reconsider and she finally laughs, and takes the script home. The reunion between Georgia and Polly is turning out to be a success. They go shopping together, flirt with college-aged boys who mistake them for sisters, then happily recount their adventure to Jimmy. They surprise him with a musical number Polly's been working on for a school show. In the middle of their performance, Georgia abruptly stops to take a call from David, leaving Jimmy and Polly to sit in silence. Georgia shines in rehearsals. When she Georgia confuses art with life during a scene and loses her composure, David consoles her and tells her that she is the only one who can do this part, tenderly kissing her on the cheek as he exits.  Guess a valid title for it!
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output: Only When I Laugh (film)


Problem: Given the below context:  The film opens at Burger-Matic, where Henry Lever orders a milkshake at the drive-thru. At the window, he tells the attendant, Sally Jackson, that his wife knows about their affair. She asks him if he has also told his wife about her pregnancy. On his way home, he encounters a ferocious wind. It turns out to be an attack helicopter, which runs him off the road. In a panic, he flees through the woods and drops his heart medication. At an outdoor chapel, he sits on a bench as the helicopter hovers in front of him. The pilot, Angus Montier, shoots at the ground near him despite the protests of his copilot and brother, Dorian. The shots scare him enough to cause a fatal heart attack. Throughout their attack, Dorian and Angus can hear the chatter of Sally and her coworkers. Likewise, they can hear the helicopter pilots on their headsets. The next day, the police inform Beatrice Lever that Henry has died. She appears shocked and crestfallen, when Dorian and Angus arrive. It quickly becomes clear that she encouraged her sons to scare him to death. She is also furious about his affair, and wants revenge on his mistress. Angus and Dorian are worried that the people they heard on the radio might have overheard enough to connect them to his death. They quickly deduce that Burger-Matic is the only location close enough to have been on the same frequency. Angus goads Dorian into getting a job there to ensure that no one is wise to their crime. Sally is heartbroken at the news about Henry. At work, Dorian bonds with her quickly. He gives her a model helicopter for her baby, and he explains that he and Angus fly them as reservists for the National Guard. She asks him to accompany her to lamaze class, since she doesn't have a partner. Eventually, he takes her to the base to see the helicopter that he flies. As she sits in the cockpit, she tells him about Henry.  Guess a valid title for it!

A:
Home Fries (film)