input: Murray filed a lawsuit against the Baltimore City Public School System (Murray v. Curlett) in 1960 in which she asserted that it was unconstitutional for her son William to be required to participate in Bible readings at Baltimore public schools. In this litigation, she stated that her son's refusal to partake in the Bible readings had resulted in bullying being directed against him by classmates and that administrators condoned it.  After consolidation with Abington School District v. Schempp, the lawsuit reached the Supreme Court of the United States in 1963. The Court voted 8-1 in Schempp's favor, which effectively banned mandatory Bible verse recitation at public schools in the United States. Prayer in schools other than Bible-readings had already been ended in 1962 by the Court's ruling in Engel v. Vitale.  O'Hair filed a lawsuit with the National Aeronautics and Space Administration (NASA) in regard to the Apollo 8 Genesis reading. The case was rejected by the U.S. Supreme Court for lack of jurisdiction. The impact of the suit was limited: Although NASA asked Buzz Aldrin to refrain from quoting the Bible in the Apollo 11 mission, he was allowed to conduct the first Communion service in space.  O'Hair appeared on The Phil Donahue Show several times, including the first episode in 1967, following which Phil Donahue said O'Hair was unpleasant and had mocked him off camera for being a Catholic, although after O'Hair's death, Donahue described her message of atheism as "very important". She appeared on the show again in March 1970 to debate Preacher Bob Harrington, "The Chaplain of Bourbon Street".  O'Hair endorsed Jimmy Carter in the 1976 presidential election because of Carter's opposition to mandatory school prayer, his support for sex education in public schools, and his stance on ecological matters.

Answer this question "what was the result?"
output: The Court voted 8-1 in Schempp's favor, which effectively banned mandatory Bible verse recitation at public schools in the United States.

input: House was born in the hamlet of Lyon, north of Clarksdale, Mississippi, the second of three brothers, and lived in the rural Mississippi Delta until his parents separated, when he was about seven or eight years old. His father, Eddie House, Sr., was a musician, playing the tuba in a band with his brothers and sometimes playing the guitar. He was a church member but also a drinker; he left the church for a time, on account of his drinking, but then gave up alcohol and became a Baptist deacon. Young Eddie House adopted the family commitment to religion and churchgoing. He also absorbed the family love of music but confined himself to singing, showing no interest in the family instrumental band, and hostile to the blues on religious grounds.  When House's parents separated, his mother took him to Tallulah, Louisiana, across the Mississippi River from Vicksburg, Mississippi. When he was in his early teens, they moved to Algiers, New Orleans. Recalling these years, he would later speak of his hatred of blues and his passion for churchgoing (he described himself as "churchy" and "churchified"). At fifteen, probably while living in Algiers, he began preaching sermons.  At the age of nineteen, while living in the Delta, he married Carrie Martin, an older woman from New Orleans. This was a significant step for House; he married in church and against family opposition. The couple moved to her hometown of Centerville, Louisiana, to help run her father's farm. After a couple of years, feeling used and disillusioned, House recalled, "I left her hanging on the gatepost, with her father tellin' me to come back so we could plow some more." Around the same time, probably 1922, House's mother died. In later years, he was still angry about his marriage and said of Carrie, "She wasn't nothin' but one of them New Orleans whores".  House's resentment of farming extended to the many menial jobs he took as a young adult. He moved frequently, on one occasion taking off to East Saint Louis to work in a steel plant. The one job he enjoyed was on a Louisiana horse ranch, which later he celebrated by wearing a cowboy hat in his performances. He found an escape from manual labor when, following a conversion experience ("getting religion") in his early twenties, he was accepted as a paid pastor, first in the Baptist Church and then in the Colored Methodist Episcopal Church. However, he fell into habits which conflicted with his calling--drinking like his father and probably also womanizing. This led him after several years of conflict to leave the church, ceasing his full-time commitment, although he continued to preach sermons from time to time.

Answer this question "Did he do anything else?"
output: The one job he enjoyed was on a Louisiana horse ranch,

input: After the armistice he returned to Birmingham and tried to find work as a cartoonist. He sold two cartoons to the Bystander in 1919 but was unable to secure a permanent position. Later that year he embarked on a professional stage career. Under the tutelage of actor-manager Nigel Playfair, he worked as an actor, set designer and builder, "stage director" (akin to a stage manager) and director. In 1922, while with Playfair, he met Doris Zinkeisen. They were considered a couple for some two years, despite Whale's living as an openly gay man. They were reportedly engaged in 1924, but by 1925 the engagement was off.  In 1928 Whale was offered the opportunity to direct two private performances of R.C. Sherriff's then-unknown play Journey's End for the Incorporated Stage Society, a theatre society that mounted private Sunday performances of plays. Set over a four-day period in March 1918 in the trenches at Saint-Quentin, France, Journey's End gives a glimpse into the experiences of the officers of a British infantry company in World War I. The key conflict is between Capt. Stanhope, the company commander, and Lt. Raleigh, the brother of Stanhope's fiancee. Whale offered the part of Stanhope to the then barely known Laurence Olivier. Olivier initially declined the role, but after meeting the playwright agreed to take it on. Maurice Evans was cast as Raleigh. The play was well received and transferred to the Savoy Theatre in London's West End, opening on 21 January 1929. A young Colin Clive was now in the lead role, Olivier having accepted an offer to take the lead in a production of Beau Geste. The play was a tremendous success, with critics uniform and effusive in their praise and with audiences sometimes sitting in stunned silence following its conclusion only to burst into thunderous ovations. As Whale biographer James Curtis wrote, the play "managed to coalesce, at the right time and in the right manner, the impressions of a whole generation of men who were in the war and who had found it impossible, through words or deeds, to adequately express to their friends and families what the trenches had been like". After three weeks at the Savoy, Journey's End transferred to the Prince of Wales Theatre, where it ran for the next two years.  With the success of Journey's End at home, Broadway producer Gilbert Miller acquired the rights to mount a New York production with an all-British cast headed by Colin Keith-Johnston as Stanhope and Derek Williams as Raleigh. Whale also directed this version, which premiered at Henry Miller's Theatre on 22 March 1929. The play ran for over a year and cemented its reputation as the greatest play about World War I.

Answer this question "what was one of the plays that was a huge hit"
output:
With the success of Journey's End at home,