IN: Irving Grant Thalberg (May 30, 1899 - September 14, 1936) was an American film producer during the early years of motion pictures. He was called "The Boy Wonder" for his youth and ability to select scripts, choose actors, gather production staff, and make profitable films, including Grand Hotel, China Seas, Camille, Mutiny on the Bounty, and The Good Earth. His films carved out an international market, "projecting a seductive image of American life brimming with vitality and rooted in democracy and personal freedom," states biographer Roland Flamini.

He found work as an office secretary at Universal Pictures' New York office, and later became personal secretary to the studio's founder and president, Carl Laemmle. Among Thalberg's duties were transcribing and editing notes that Laemmle had written during screenings of his films. He earned $25 weekly, becoming adept at making insightful observations, which impressed Laemmle.  Laemmle took Thalberg to see his Los Angeles production facility, where he spent a month watching how movie production worked. Before returning to New York, Laemmle told Thalberg to remain and "keep an eye on things for me." Two months later, Laemmle returned to California, partly to see how well Thalberg was able to handle the responsibilities he was given. Thalberg gave him suggestions, which impressed Laemmle by his ability to understand and explain problems.  Thalberg suggested, "The first thing you should do is establish a new job of studio manager and give him the responsibility of watching day-to-day operations." Laemmle immediately agreed, "All right. You're it." In shock, Thalberg replied, "I'm what?" Laemmle told him to take charge of the Los Angeles studio, which he did in early 1919. At age 20, Thalberg became responsible for immediately overseeing the nine ongoing film productions and nearly thirty scenarios then under development.  In describing the rationale for this early appointment as studio manager, film historian David Thomson writes that his new job "owed nothing to nepotism, private wealth, or experience in the film industry." He reasons that despite "Thalberg's youth, modest education, and frail appearance . . . it is clear that he had the charm, insight, and ability, or the appearance of it, to captivate the film world."  Thalberg was one among the majority of Hollywood film industry workers who migrated from the East Coast, primarily from New York. Some film actors, such as Conrad Nagel, did not like the 5-day train trip or the sudden warmth of the California climate. Neither did Marion Davies, who was not used to such "big wide spaces." Samuel Marx, a close friend of Thalberg's from New York, recalled how easily Thalberg adapted to Southern California, often standing outside his doorway during moments of contemplation to enjoy the scenery. "We were all young," said comedian Buster Keaton. "The air in California was like wine. Our business was also young--and growing like nothing ever seen before."
QUESTION: Did he stay on the East Coast for the rest of his career?
IN: Alfred Cellier (1 December 1844 - 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.

In December 1877 Cellier joined the D'Oyly Carte company as musical director at the Opera Comique in London. There he conducted The Sorcerer (1877), H.M.S. Pinafore (1878, for which he wrote the overture, based on themes from the opera), Trial by Jury (1878), George Grossmith's Cups and Saucers (1878-79), and three of his own one-act works: Dora's Dream (1877-78 revival), The Spectre Knight (1878), and After All! (1878-79). Cellier was conducting the performance of Pinafore during which the partners of The Comedy Opera Company attempted to repossess the set, and he was noted for his attempts to calm the audience during the fracas. His brother, Francois, succeeded him as musical director at the Opera Comique in 1879. Alfred Cellier was a conductor of a series of promenade concerts at the Queen's Theatre, Long Acre and, in 1878-1879 he was joint conductor, with Sullivan, of the Covent Garden Promenade Concerts.  In 1879, he travelled with Gilbert, Sullivan, and Carte to America, where he acted as conductor for Pinafore and The Pirates of Penzance, with Carte's first American touring company. Cellier prepared the overture to Pirates using Sullivan's music from the rest of the score. Back in London in July 1880, he directed the music at the Opera Comique for Pirates and another of his own pieces with Desprez, In the Sulks. In April 1881, he left the D'Oyly Carte company, ceding the baton to his brother. Cellier composed a three-act grand opera, Pandora, a version of Longfellow's The Masque of Pandora (with a libretto by B. C. Stephenson) that was presented in Boston in 1881. He returned to America later that year as music director of D'Oyly Carte's New York and touring productions of Billee Taylor (1882), Les Manteaux Noirs and Rip Van Winkle (both in the fall of 1882), and Iolanthe (1882-83), for the latter of which he prepared the New York overture.  In 1883, Cellier's setting of Gray's Elegy, in the form of a cantata, was produced at the Leeds music festival. In 1883, Cellier left the D'Oyly Carte company, but he was back for brief periods as music director with D'Oyly Carte's touring companies for Princess Ida (1884) and The Mikado (1885). In 1885, also, Cellier composed incidental music for a production of As You Like It. He composed two more companion pieces that had Savoy Theatre premieres: The Carp (performed with The Mikado and Ruddigore in 1886-87), and Mrs. Jarramie's Genie (composed together with his brother Francois, with libretti by Desprez, which played together with several different operas at the Savoy between 1887 and 1889).  While in London, Cellier conducted at several London theatres, including the Criterion, the St James's, and the Savoy. Later, as a result of ill health, he resided abroad, notably in America and Australia, where he was a representative for the D'Oyly Carte company.
QUESTION:
What shows did he direct