input: Sanchez made 58 appearances for Mexico between 1977 and 1994, scoring 29 goals. Prior to representing the senior side, as a teenager he represented Mexico at the 1975 Pan American Games on home soil, where he won a gold medal, and at the 1976 Summer Olympics. He participated in three FIFA World Cup tournaments, making 8 World Cup appearances in total, and scoring once. He helped Mexico win the 1977 CONCACAF Championship to seal qualification for the 1978 FIFA World Cup in Argentina; at the age of 19, he took part in the final tournament, where Mexico lost all three of their group games and suffered a first round elimination.  After Mexico failed to qualify for the 1982 FIFA World Cup in Spain, Sanchez was a part of the Mexico team that reached the quarter-finals of the 1986 World Cup on home soil, losing out to eventual runners-up West Germany in a penalty shootout. He scored his only World Cup goal during his nation's opening match of the tournament on 3 June, the winning goal in a 2-1 victory over Belgium, although he also missed a penalty in Mexico's second group match against Paraguay, and was later booked, causing him to miss the final group match. Four years later, however, Mexico once again missed out on the final tournament as they were suspended from the 1990 FIFA World Cup in Italy.  Despite his advancing age, he later played a key role in helping Mexico to the final of the 1993 Copa America, at the age of 35; he scored once in a 2-0 victory over Ecuador in the semi-finals, although Mexico eventually finished as runners-up to Argentina. Sanchez later also appeared at the 1994 FIFA World Cup in the United States, his final major tournament, where Mexico suffered a round of 16 elimination; he made his only appearance in the tournament on 19 June, in Mexico's opening match of the competition, a 1-0 defeat to Norway.

Answer this question "Did he play for any non Mexican teams?"
output: 

input: In November 1985, Tony Bellotto and Arnaldo Antunes were arrested for heroin traffic and transportation. It This considered by the band as the climax of their first crisis, started with the first two albums low sales. Also, the episode made so much of an impact in the band, the next album, Cabeca Dinossauro, released in June 1986, contained a lot of tracks criticizing the public institutions ("Estado Violencia" and "Policia"), as well as other "pillars" of the Brazilian society and indeed society in general ("Igreja" and "Familia"). The heavy and punk-influenced rhythms and the forceful lyrics, characteristic of the band in this phase, are fully represented in this album which is considered by the critics one of the best works of the group and one of the landmarks of the Brazilian rock.  Jesus Nao Tem Dentes No Pais Dos Banguelas, released at the end of 1987, continued in the same vein as the previous album in tracks like "Nome aos Bois", "Lugar Nenhum" and "Desordem", however adding samplers in tracks like "Coracoes e Mentes", "Todo Mundo quer Amor", "Comida" and "Diversao". After some international performances, the band recorded some of their hits in live Montreux Festival and released Go Back in 1988. The biggest hit to come out of Go Back was a live version of the song "Marvin" which is a re-invented version of "Patches" by Clarence Carter made famous by Elvis.  The producer Liminha (a former adjunct member of Os Mutantes) was always an important associate of the band since Cabeca Dinossauro, and this association arrived to its climax in O Blesq Blom, one of the most popular productions of the band by that time. Some of the prominence tracks: "Miseria", "Flores", "O Pulso" and "32 Dentes". One of the prominent features of this work was the special guest appearance of a couple of improvisors, called Mauro and Quiteria, discovered by the band in a beach in Recife.

Answer this question "Did they perform it on live stage ?"
output: the band recorded some of their hits in live Montreux Festival and released Go Back in 1988.

input: Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday.

Answer this question "Did they write productions?"
output:
Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar