input: As a result of her work for the National Youth Theatre, Mirren was invited to join the Royal Shakespeare Company (RSC). While with the RSC, she played Castiza in Trevor Nunn's 1966 staging of The Revenger's Tragedy, Diana in All's Well That Ends Well (1967), Cressida in Troilus and Cressida (1968), Rosalind in As You Like It (1968), Julia in The Two Gentlemen of Verona (1970), Tatiana in Gorky's Enemies at the Aldwych (1971), and the title role in Miss Julie at The Other Place (1971). She also appeared in four productions, directed by Braham Murray for Century Theatre at the University Theatre in Manchester, between 1965 and 1967.  In 1970, the director/producer John Goldschmidt made a documentary film, Doing Her Own Thing, about Mirren during her time with the Royal Shakespeare Company. The film was made for ATV and shown on the ITV Network in the UK. In 1972 and 1973, Mirren worked with Peter Brook's International Centre for Theatre Research, and joined the group's tour in North Africa and the US, during which they created The Conference of the Birds. She then rejoined the RSC, playing Lady Macbeth at Stratford in 1974 and at the Aldwych Theatre in 1975.  Sally Beauman reported, in her 1982 history of the RSC, that Mirren--while appearing in Nunn's Macbeth (1974), and in a highly publicised letter to The Guardian newspaper--had sharply criticised both the National Theatre and the RSC for their lavish production expenditure, declaring it "unnecessary and destructive to the art of the Theatre," and adding, "The realms of truth, emotion and imagination reached for in acting a great play have become more and more remote, often totally unreachable across an abyss of costume and technicalities..." According to Beauman, there were no discernible repercussions for this rebuke of the RSC.

Answer this question "What did she do after her time with the Royal Shakespeare Company?"
output: She also appeared in four productions, directed by Braham Murray for Century Theatre at the University Theatre in Manchester, between 1965 and 1967.

input: Side two contains a 16-minute medley of eight short songs, recorded over July and August and blended into a suite by McCartney and Martin. Some songs were written (and originally recorded in demo form) during sessions for the White Album and Get Back / Let It Be, which later appeared on Anthology 3. While the idea for the medley was McCartney's, Martin claims credit for some structure, adding he "wanted to get John and Paul to think more seriously about their music".  The first track recorded for the medley was the opening number, "You Never Give Me Your Money". McCartney has claimed that the band's dispute over Allen Klein and what McCartney viewed as Klein's empty promises were the inspiration for the song's lyrics. However, MacDonald doubts this given that the backing track, recorded on 6 May at Olympic Studios, predated the worst altercations between Klein and McCartney. The track is a suite of varying styles, ranging from a piano-led ballad at the start to arpeggiated guitars at the end. Both Harrison and Lennon provided guitar solos with Lennon playing the solos at the end of the track, which Beatles author Walter Everett considers his favourite Lennon guitar contribution.  This song transitions into Lennon's "Sun King" which, like "Because", showcases Lennon, McCartney and Harrison's triple-tracked harmonies. Following it are Lennon's "Mean Mr. Mustard" (written during the Beatles' 1968 trip to India) and "Polythene Pam". These in turn are followed by four McCartney songs, "She Came in Through the Bathroom Window" (written after a fan entered McCartney's residence via his bathroom window), "Golden Slumbers" (based on Thomas Dekker's 17th-century poem set to new music), "Carry That Weight" (reprising elements from "You Never Give Me Your Money", and featuring chorus vocals from all four Beatles), and closing with "The End".  "The End" features Starr's only drum solo in the Beatles' catalogue (the drums are mixed across two tracks in "true stereo", unlike most releases at that time where they were hard panned left or right). Fifty-four seconds into the song are 18 bars of lead guitar: the first two bars are played by McCartney, the second two by Harrison, and the third two by Lennon, with the sequence repeating. Harrison suggested the idea of a guitar solo in the track, Lennon decided they should trade solos and McCartney elected to go first. The solos were cut live against the existing backing track in one take. Immediately after Lennon's third and final solo, the piano chords of the final part of the song begin. The song ends with the memorable final line, "And in the end, the love you take is equal to the love you make". This section was taped separately to the first, and required the piano to be re-recorded by McCartney, which was done on 18 August. An alternative version of the song, with Harrison's lead guitar solo played against McCartney's (with Starr's drum solo heard in the background), appears on the Anthology 3 album and the 2012 digital-only compilation album Tomorrow Never Knows.

Answer this question "what was the medley?"
output: 16-minute medley of eight short songs,

input: In the fall of 1959, Darin played "Honeyboy Jones" in an early episode of Jackie Cooper's CBS military sitcom/drama, Hennesey set in San Diego, California. In 1960, he appeared twice as himself in NBC's short-lived crime drama Dan Raven, starring Skip Homeier and set on the Sunset Strip of West Hollywood. In the same year, he was the only actor ever to have been signed to five major Hollywood film studios. He wrote music for several films in which he appeared.  His first major film, Come September (1961), was a teenager-oriented romantic comedy with Rock Hudson and Gina Lollobrigida and featuring 18-year-old actress Sandra Dee. They first met during the production of the film, fell in love, and got married soon afterwards. Dee gave birth to a son, Dodd Mitchell Darin (also known as Morgan Mitchell) on December 16, 1961. Dee and Darin made a few films together with moderate success. They divorced in 1967.  In 1961 he starred in Too Late Blues, John Cassavetes' first film for a major Hollywood studio, as a struggling jazz musician. Writing in 2012, Los Angeles Times critic Dennis Lim observed that Darin was "a surprise in his first nonsinging role, willing to appear both arrogant and weak."  In 1962, Darin won the Golden Globe Award for "New Star of the Year - Actor" for his role in Come September. The following year he was nominated for the Golden Globe Award for "Best Performance by an Actor in a Motion Picture - Drama" (Best actor) in Pressure Point.  In 1963, he was nominated for an Academy Award for Best Supporting Actor for his role as a shell-shocked soldier in Captain Newman, M.D.. At the Cannes Film Festival he won the French Film Critics Award for best actor.  In October 1964, he appeared as a wounded ex-convict who is befriended by an orphan girl in "The John Gillman Story" episode of NBC's Wagon Train western television series.

Answer this question "was the film popular?"
output: