Some context: Harold Frederick Shipman (14 January 1946 - 13 January 2004) was a British general practitioner and one of the most prolific serial killers in recorded history. On 31 January 2000, a jury found Shipman guilty of fifteen murders for killing patients under his care. He was sentenced to life imprisonment with the recommendation that he never be released. The Shipman Inquiry, a two-year-long investigation of all deaths certified by Shipman, which was chaired by Dame Janet Smith, examined Shipman's crimes.
Shipman hanged himself in his cell at Wakefield Prison at 06:20 on 13 January 2004, on the eve of his 58th birthday, and was pronounced dead at 08:10. A Prison Service statement indicated that Shipman had hanged himself from the window bars of his cell using bed sheets.  Some of the victims' families said they felt cheated, as his suicide meant they would never have the satisfaction of Shipman's confession nor answers as to why he committed his crimes. The Home Secretary David Blunkett noted that celebration was tempting, saying: "You wake up and you receive a call telling you Shipman has topped himself and you think, is it too early to open a bottle? And then you discover that everybody's very upset that he's done it."  His death divided national newspapers, with the Daily Mirror branding him a "cold coward" and condemning the Prison Service for allowing his suicide to happen. The Sun, however, ran a celebratory front-page headline; "Ship Ship hooray!" The Independent called for the inquiry into Shipman's suicide to look more widely at the state of Britain's prisons as well as the welfare of inmates. In The Guardian, an article by Sir David Ramsbotham (former Chief Inspector of Prisons) suggested that whole life sentencing be replaced by indefinite sentencing as these would at least give prisoners the hope of eventual release and reduce the risk of their ending their own lives by suicide as well as making their management easier for prison officials.  Shipman's motive for suicide was never established, although he had reportedly told his probation officer that he was considering suicide to assure his wife's financial security after he was stripped of his National Health Service (NHS) pension. Primrose Shipman received a full NHS pension, to which she would not have been entitled had Shipman lived past age 60. Additionally, there was evidence that his wife, who had consistently protested Shipman's innocence despite the overwhelming evidence, had begun to suspect his guilt. Shipman had refused to take part in courses leading toward a full confession of his crimes, leading to temporary removal of privileges, including the opportunity to telephone his wife. During this period, according to Shipman's cellmate, he received a letter from Primrose exhorting him to "tell me everything, no matter what". A 2005 inquiry found that Shipman's suicide "could not have been predicted or prevented", but that procedures should nonetheless be re-examined.
Was his wife still living when he died?
A: he had reportedly told his probation officer that he was considering suicide to assure his wife's financial security after he was stripped of his National Health Service (NHS) pension.
Some context: Michael Bennett (April 8, 1943 - July 2, 1987) was an American musical theatre director, writer, choreographer, and dancer. He won seven Tony Awards for his choreography and direction of Broadway shows and was nominated for an additional eleven. Bennett choreographed Promises, Promises, Follies and Company. In 1976, he won the Tony Award for Best Direction of a Musical and the Tony Award for Best Choreography for the musical A Chorus Line.
Unlike his more famous contemporary Bob Fosse, Bennett was not known for a particular choreographic style. Instead, Bennett's choreography was motivated by the form of the musical involved, or the distinct characters interpreted.  In Act 2 of Company, Bennett defied the usual choreographic expectations by deliberately taking the polish off the standard Broadway production number. The company stumbled through the steps of a hat and cane routine ("Side By Side") and thus revealed to the audience the physical limitations of the characters' singing and dancing. Bennett made the audience aware that this group had been flung together to perform, and that they were in over their heads. He intended the number to be not about the routine, but rather the characters behind it.  The song "One" from A Chorus Line functions in a different way. The various phases of construction/rehearsal of the number are shown, and because the show is about professional dancers, the last performance of the song-and-dance routine has all the gloss and polish expected of Broadway production values. Bennett's choreography also reveals the cost of the number to the people behind it.  Bennett was influenced by the work of Jerome Robbins. "What Michael Bennett perceived early in Robbins' work was totality, all the sums of a given piece adding to a unified whole". In Dreamgirls, Bennett's musical staging was described as a "mesmerizing sense of movement":  The most thrilling breakthrough of the extraordinary show is that whereas in A Chorus Line Michael Bennett choreographed the cast, in Dreamgirls he has choreographed the set.... Bennett's use of [the plexiglass towers that dominated the set] was revolutionary. The towers moved to create constantly changing perspectives and space, like an automated ballet.... They energized the action, driving it forcefully along. It's why there were no set-piece dance routines in the show: Dance and movement were organic to the entire action. But Bennett had made the mechanical set his dancers."
Can you explain the Analysis?
A:
Bennett was not known for a particular choreographic style.