Question: Sir Henry Irving (6 February 1838 - 13 October 1905), born John Henry Brodribb, sometimes known as J. H. Irving, was an English stage actor in the Victorian era, known as an actor-manager because he took complete responsibility (supervision of sets, lighting, direction, casting, as well as playing the leading roles) for season after season at the Lyceum Theatre, establishing himself and his company as representative of English classical theatre. In 1895 he became the first actor to be awarded a knighthood, indicating full acceptance into the higher circles of British society. Irving is widely acknowledged to be one of the inspirations for Count Dracula, the title character of the 1897 novel Dracula whose author, Bram Stoker, was business manager of the theatre.

In 1878, Irving entered into a partnership with actress Ellen Terry and re-opened the Lyceum under his own management. With Terry as Ophelia and Portia, he revived Hamlet and produced The Merchant of Venice (1879). His Shylock was as much discussed as his Hamlet had been, the dignity with which he invested the vengeful Jewish merchant marking a departure from the traditional interpretation of the role.  After the production of Tennyson's The Cup and revivals of Othello (in which Irving played Iago to Edwin Booth's title character) and Romeo and Juliet, there began a period at the Lyceum which had a potent effect on the English stage.  Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885); Faust (1886); Macbeth (1888, with incidental music by Arthur Sullivan); The Dead Heart, by Watts Phillips (1889); Ravenswood by Herman, and Merivales' dramatic version of Scott's Bride of Lammermoor (1890). Portrayals in 1892 of the characters of Wolsey in Henry VIII and of the title character in King Lear were followed in 1893 by a performance of Becket in Tennyson's play of the same name. During these years, too, Irving, with the whole Lyceum company, paid several successful visits to the United States and Canada, which were repeated in succeeding years. As Terry aged, there seemed to be fewer opportunities for her in his company; that was one reason she eventually left, moving on into less steady but nonetheless beloved stage work, including solo performances of Shakespeare's women.

Using a quote from the above article, answer the following question: did they produce anything else?
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Answer: Much Ado about Nothing (1882) was followed by Twelfth Night (1884); an adaptation of Goldsmith's Vicar of Wakefield by W. G. Wills (1885);

Problem: Charles Dillon Stengel was born on July 30, 1890, in Kansas City, Missouri. His ancestry involves German and Irish; his parents--Louis Stengel and Jennie (Wolff) Stengel--were from the Quad Cities area of Illinois and Iowa, and had moved to Kansas City soon after their 1886 wedding so Louis could take an insurance job. "Charlie" was the youngest of three children, and the second son. Charlie Stengel played sandlot baseball as a child, and also played baseball, football and basketball at Kansas City's Central High School.

The Pirates had been the only National League team to do worse than the Dodgers in 1917, finishing last. Stengel met with the Pirates owner Barney Dreyfuss to seek a salary increase, but found Dreyfuss reluctant to deal until Stengel proved himself as a Pirate. On June 3, 1918, Stengel was ejected for arguing with the umpire, and was fined by the league office for taking off his shirt on the field. The U.S. had been fighting in World War I for a year, and Stengel enlisted in the Navy. His wartime service was playing for and managing the Brooklyn Navy Yard's baseball team, driving in the only run to beat Army, 1-0, before 5,000 spectators at the Polo Grounds. He also occasionally helped paint a ship--he later stated he had guarded the Gowanus Canal, and not a single submarine got into it.  The Armistice renewed the war between Stengel and Dreyfuss, and the outfielder held out again to begin the 1919 season. Both wanted to see Stengel traded, but no deal was immediately made. By then, Stengel's position as regular right fielder had been taken by Billy Southworth, and he had difficulty breaking back into the lineup. Stengel played better than he had before he enlisted, and by the time Dreyfuss traded him to the Philadelphia Phillies for Possum Whitted on August 9, he was batting .293 with four home runs. But before being traded, Stengel pulled one of his most famous stunts, on May 25 at Ebbets Field, as a member of the visiting Pirates. It was not unusual at Ebbets Field for right fielders of either team, rather than go to the dugout after three were out, to go to the Dodgers' bullpen, in foul territory down the right field line, if they were not likely to bat in the upcoming inning. Stengel did so to visit old friends, and discovered that pitcher Leon Cadore had captured a sparrow. Stengel took it, and, called to bat in the sixth inning, quietly placed it under his cap. He received mixed boos and cheers from the Brooklyn crowd as a former Dodger, took a deep bow at the plate, and doffed his cap, whereupon the bird flew away to great laughter from the crowd.  The trade to the Phillies ended Stengel's major league season for 1919, as he refused to report unless he got a raise, and when one was not forthcoming, returned to Kansas City to raise a barnstorming team. In the offseason, he came to terms with William Baker, the owner of the Phillies, and hit .292 in 1920 with nine home runs. However, racked by injuries and no longer young for a ballplayer, he did not play much in the early part of the 1921 season. On June 30, 1921, the Phillies traded Stengel, Red Causey and Johnny Rawlings to the New York Giants for Lee King, Goldie Rapp and Lance Richbourg. The Giants were one of the dominant teams in the National League and Stengel, who had feared being sent to the minor leagues, quietly placed a long distance call once informed to ensure he was not the victim of a practical joke.

How long was he there?

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