Background: Hedy Lamarr (; born Hedwig Eva Maria Kiesler, November 9, 1914 -  January 19, 2000) was an Austrian-born American film actress and inventor. At the beginning of World War II, Lamarr and composer George Antheil developed a radio guidance system for Allied torpedoes, which used spread spectrum and frequency hopping technology to defeat the threat of jamming by the Axis powers. Although the US Navy did not adopt the technology until the 1960s, the principles of their work are arguably incorporated into Bluetooth technology, and are similar to methods used in legacy versions of CDMA and Wi-Fi.
Context: Lamarr was born Hedwig Eva Maria Kiesler in 1914 in Vienna, Austria-Hungary, the only child of Gertrud "Trude" Kiesler (nee Lichtwitz; 1894-1977) and Emil Kiesler (1880-1935). Her father was born to a Jewish family in Lemberg (now Lviv in Ukraine) and was a successful bank director.  Her mother Gertrud was a pianist and Budapest native who came from an upper-class Jewish family; she had converted from Judaism to Catholicism and was described as a "practicing Christian", who raised her daughter as a Christian. Lamarr helped get her mother out of Austria (then under Nazi domination) and to the United States, and she later became an American citizen. Gertrud Kiesler put "Hebrew" as her race on her petition for naturalization as an American citizen.  In the late 1920s, Lamarr was discovered as an actress and brought to Berlin by producer Max Reinhardt. Following her training in the theater, she returned to Vienna to work in the film industry, first as a script girl, and soon as an actress. In early 1933, at age 18, she starred in Gustav Machaty's film, Ecstasy (Ekstase in German, Extase in Czech). Her role was that of a neglected young wife married to an indifferent older man. The film became both celebrated and notorious for showing Lamarr's face in the throes of orgasm as well as close-up and brief nude scenes, a result of her being "duped" by the director and producer, who used high-power telephoto lenses.  Although she was dismayed and now disillusioned about taking other roles, the film gained world recognition after winning an award in Rome. Throughout Europe, the film was considered an artistic work, while in America, it was considered overly sexual and received negative publicity, especially among women's groups. It was banned there and in Germany.  She went on to play a number of stage roles, including a starring one in Sissy, a play about Austrian royalty produced in Vienna, which won accolades from critics. Admirers sent roses to her dressing room and tried to get backstage to meet her. She sent most of them away, including a man who was more insistent, Friedrich Mandl. He became obsessed with getting to know her. She fell for his charming and fascinating personality, partly due to his immense financial status. Her parents, both of Jewish descent, did not approve, due to Mandl's ties to Mussolini, and later, Hitler, but could not stop the headstrong Hedy.
Question: Was she the leading role?
Answer: Her role was that of a neglected young wife married to an indifferent older man.

Background: George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois) and Beatrice Ives Welles (b. Beatrice Lucy Ives, September 1, 1883, Springfield, Illinois; d. May 10, 1924, Chicago).
Context: 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.
Question: Did they receive any other great reviews?
Answer:
"I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said