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.

Example Input: Passage: By the 1920s, Baylis concluded that the Old Vic no longer sufficed to house both her theatre and her opera companies. She noticed the empty and derelict Sadler's Wells theatre in Rosebery Avenue, Islington, on the other side of London from the Old Vic.  She sought to run it in tandem with her existing theatre.Baylis made a public appeal for funds in 1925.  With the help of the Carnegie Trust and many others, she acquired the freehold of Sadler's Wells. Work started on the site in 1926.  By Christmas 1930, a completely new 1,640-seat theatre was ready for occupation. The first production there, a fortnight's run from 6 January 1931, was Shakespeare's Twelfth Night. The first opera, given on 20 January, was Carmen. Eighteen operas were staged during the first season.The new theatre was more expensive to run than the Old Vic, as a larger orchestra and more singers were needed, and box office receipts were at first inadequate. In 1932, the Birmingham Post commented that the Vic-Wells opera performances did not reach the standards of the Vic-Wells Shakespeare productions. Baylis strove to improve operatic standards, while at the same time fending off attempts by Sir Thomas Beecham to absorb the opera company into a joint enterprise with Covent Garden, where he was in command.  At first, the apparent financial security of the offer appeared attractive, but friends and advisers such as Edward J. Dent and Clive Carey convinced Bayliss that it was not in the interests of her regular audience. This view received strong support from the press; The Times wrote:
The Old Vic began by offering opera of some sort to people who hardly knew what the word meant ... under a wise, fostering guidance it has gradually worked upwards ...Any kind of amalgamation which made it the poor relation of the 'Grand' season would be disastrous.
Example Output: What is the name of the existing theatre Baylis sought to run in tandem with Sadler's Wells theatre?

Example Input: Passage: Despite undergoing various changes of emphasis, Bush's music retained a voice distinct from that of any of his contemporaries. One critic describes the typical Bush sound as "Mild dominant discords, of consonant effect, used with great originality in uncommon progressions alive with swift, purposeful harmonic movement ... except in [Benjamin] Britten they are nowhere used with more telling expression, colour and sense of movement than in Bush".John Ireland, Bush's early mentor, instilled "the sophisticated and restrained craftsmanship which marked Bush's music from the beginning",   introducing him to folksong and Palestrina, both important building blocks in the development of Bush's mature style. Daula comments that "Bush's music does not [merely] imitate the sound-world of his Renaissance predecessors", but   creates his unique fingerprint by "[juxtaposing] 16th century modal counterpoint with late- and post-romantic harmony".Bush's music, at least from the mid-1930s, often carried political overtones. His obituarist Rupert Christiansen writes that, as a principled Marxist, Bush  "put the requirements of the revolutionary proletariat at the head of the composer's responsibilities", a choice which others, such as Tippett, chose not to make.   However, Vaughan Williams thought that, despite Bush's oft-declared theories of the purposes of art and music, "when the inspiration comes over him he forgets all about this and remembers only the one eternal rule for all artists, 'To thine own self be true'.".
Example Output: What is the last name of the person who wrote that the composer who retained a voice distinct from that of any of his contemporaries "remembers only the one eternal rule for all artists, 'To thine own self be true'."?

Example Input: Passage: Sam Carraclough, a miner who struggles to earn enough money to feed his family, sells the family's Collie, Lassie, to the Duke of Rudling, whose granddaughter loves the dog, leaving his young son, Joe heartbroken over the loss of his dog. The Duke's servant, Hynes, scares the dog, which keeps coming back so the Carracloughs have to keep returning her, and Hynes blames the boy. During the holiday season, the duke goes to the Scottish Highlands, taking Lassie.  Lassie escapes and goes on a 500-mile journey to get home. Meanwhile, Sam Carraclough enlists in World War I to support his family. During her journey, Lassie dodges dog catchers and is taken by a circus performer and befriends his small dog. Later, after they are attacked by some men, which kill the small dog, an angered performer and Lassie chase the men away. Lassie reaches home on Christmas Day and faints outside the church in which the family is in. When the mass was over, the family found Lassie nearly dead and they take her home, the veterinarian tells the family that Lassie might not survive. When Hynes hears that Lassie has been found, he, accompanied by police officers, goes to the house to take Lassie and the family to the Duke's local estate. The duke lets the family keep Lassie by denying that it is his dog and fires Hynes. After Lassie recovers, the duke offers a job to Sam and his wife and a new house. The duke's granddaughter visits the family in their new house and sees Lassie's puppies. She and Joe play with puppies and the movie ends.
Example Output:
Whose house does the duke's granddaughter visit to see Lassie?