input: The following year, James Hammerstein directed a production at the Haymarket Theatre, Leicester, in January 1980, produced by Cameron Mackintosh. The De Mille choreography was again adapted by de Lappe. A UK tour followed, and it eventually settled in the West End, opening at the Palace Theatre, London, on September 17, 1980, and running until September 19, 1981. This production starred John Diedrich as Curly and Alfred Molina as Jud Fry, both of whom were nominated for Olivier Awards. Rosamund Shelley played Laurey, and Madge Ryan was Aunt Eller. The production was Maria Friedman's debut in the West End, initially in the chorus role of Doris, but she was eventually promoted to the leading role. John Owen Edwards was the musical director. He would later reprise his work for Mackintosh's 1998 London revival. A cast recording of this production was issued by JAY Records and on the Showtime! label.  A new production of the musical was presented by the National Theatre in London at the Olivier Theatre, opening on July 15, 1998. The production team included Trevor Nunn (director), Susan Stroman (choreographer) and William David Brohn (orchestrator). The international cast included Hugh Jackman as Curly, Maureen Lipman as Aunt Eller, Josefina Gabrielle as Laurey, Shuler Hensley as Jud Fry, Vicki Simon as Ado Annie, Peter Polycarpou as Ali Hakim and Jimmy Johnston as Will Parker. Musical director John Owen Edwards, Brohn and dance arranger David Krane adapted Robert Russell Bennett's original orchestrations and extended some of the dance sequences. A brand new Dream Ballet was composed for Susan Stroman's new choreography and the dances to "Kansas City", "Many a New Day" and "The Farmer and the Cowman" were all radically redesigned. The overture was also altered, at the request of Nunn.  The production received numerous Olivier Award nominations, winning for Outstanding Musical Production, supporting actor (Hensley), set design (Anthony Ward) and choreography (Stroman). According to the Rodgers & Hammerstein Organization, the limited engagement was a sell-out and broke all previous box office records, and so the show was transferred to the Lyceum Theatre in the West End for a six-month run. Plans to transfer to Broadway with the London cast were thwarted by Actors' Equity, which insisted that American actors must be cast. Eventually a U.S. cast was selected. The production was filmed and issued on DVD, as well as being broadcast on U.S. Public Television in November 2003.

Answer this question "did they have any problem with production?"
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Question: Monty Python (also collectively known as The Pythons) were a British surreal comedy group who created their sketch comedy show Monty Python's Flying Circus, which first aired on the BBC in 1969. Forty-five episodes were made over four series. The Python phenomenon developed from the television series into something larger in scope and impact, including touring stage shows, films, numerous albums, several books, and musicals. The Pythons' influence on comedy has been compared to the Beatles' influence on music.

Having considered the possibility at the end of the second season, Cleese left the Flying Circus at the end of the third. He later explained that he felt he no longer had anything fresh to offer the show, and claimed that only two Cleese- and Chapman-penned sketches in the third series ("Dennis Moore" and the "Cheese Shop") were truly original, and that the others were bits and pieces from previous work cobbled together in slightly different contexts. He was also finding Chapman, who was at that point in the full throes of alcoholism, difficult to work with. According to an interview with Idle, "It was on an Air Canada flight on the way to Toronto, when John (Cleese) turned to all of us and said 'I want out.' Why? I don't know. He gets bored more easily than the rest of us. He's a difficult man, not easy to be friendly with. He's so funny because he never wanted to be liked. That gives him a certain fascinating, arrogant freedom."  The rest of the group carried on for one more "half" season before calling a halt to the programme in 1974. The name Monty Python's Flying Circus appears in the opening animation for season four, but in the end credits, the show is listed as simply "Monty Python". Although Cleese left the show, he was credited as a writer for three of the six episodes, largely concentrated in the "Michael Ellis" episode, which had begun life as one of the many drafts of the "Holy Grail" motion picture. When a new direction for "Grail" was decided upon, the subplot of Arthur and his knights wandering around a strange department store in modern times was lifted out and recycled as the aforementioned TV episode.  While the first three seasons contained 13 episodes each, the fourth ended after just six. Extremely keen to keep the now massively popular show going, the BBC had offered the troupe a full 13 episodes, but the truncated troupe (now under the unspoken 'leadership' of Terry Jones) had come to a common agreement while writing the fourth series that there was only enough material, and more importantly only enough enthusiasm, to shoot the six that were made.

Using a quote from the above article, answer the following question: who was cleese replaced with?
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