input: Burton first appeared on television in a drama about a misunderstood deaf boy. LeVar Burton made his film acting debut in 1977 when he played Kunta Kinte in the ABC award-winning drama series Roots, based on the novel by Alex Haley. Burton's audition for the role of Kinte was the first of his professional career. As a result of his performance, he was nominated for the Emmy for Best Actor in a Drama Series. Burton reprised the role of Kunta Kinte in the 1988 television film Roots: The Gift. When asked about the societal impacts of Roots, Burton is quoted as saying, "It expanded the consciousness of people. Blacks and whites began to see each other as human beings, not as stereotypes. And if you throw a pebble into the pond, you're going to get ripples. I think the only constant is change, and it's always slow. Anything that happens overnight is lacking in foundation. Roots is part of a changing trend, and it's still being played out."  Burton played a role as a visitor to Fantasy Island, was a participant in Battle of the Network Stars, a guest of the Muppet Show's televised premiere party for the release of The Muppet Movie, and a frequent guest on several game shows. In 1986, he appeared in the music video for the song "Word Up!" by the funk/R&B group Cameo.  Burton accepted an invitation to host Rebop, a multicultural series designed for young people ages 9-15, produced by WGBH for PBS.

Answer this question "What else did he star in?"
output: Burton reprised the role of Kunta Kinte in the 1988 television film Roots: The Gift.

Problem: Background: Oklahoma! is the first musical written by the team of composer Richard Rodgers and librettist Oscar Hammerstein II. The musical is based on Lynn Riggs' 1931 play, Green Grow the Lilacs. Set in Oklahoma Territory outside the town of Claremore in 1906, it tells the story of farm girl Laurey Williams and her courtship by two rival suitors, cowboy Curly McLain and the sinister and frightening farmhand Jud Fry. A secondary romance concerns cowboy Will Parker and his flirtatious fiancee, Ado Annie.
Context: 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.
Question: was it successful?
Answer: The production received numerous Olivier Award nominations,

Question: Rudolf Nureyev was born on a Trans-Siberian train near Irkutsk, Siberia, Soviet Union, while his mother, Feride, was travelling to Vladivostok, where his father Hamit, a Red Army political commissar, was stationed. He was raised as the only son with three older sisters in a Tatar Muslim family. When his mother took Rudolf Nureyev and his sisters into a performance of the ballet Song of the Cranes, he fell in love with dance. As a child he was encouraged to dance in Bashkir folk performances and his precocity was soon noticed by teachers who encouraged him to train in Saint Petersburg.

When AIDS appeared in France's news around 1982, Nureyev took little notice. The dancer tested positive for HIV in 1984, but for several years he simply denied that anything was wrong with his health. However, by the late 1980s his diminished capabilities disappointed his admirers who had fond memories of his outstanding prowess and skill. Nureyev began a marked decline only in the summer of 1991 and entered the final phase of the disease in the spring of 1992.  In March 1992, living with advanced AIDS, he visited Kazan and appeared as a conductor in front of the audience at Musa Calil Tatar Academic Opera and Ballet Theater, which now presents the Rudolf Nureyev Festival in Tatarstan. Returning to Paris, with a high fever, he was admitted to the hospital Notre Dame du Perpetuel Secours in Levallois-Perret, a suburb northwest of Paris, and was operated on for pericarditis, an inflammation of the membranous sac around the heart. At that time, what inspired him to fight his illness was the hope that he could fulfill an invitation to conduct Prokofiev's Romeo and Juliet at an American Ballet Theatre benefit on 6 May 1992 at the Metropolitan Opera House in New York. He did so and was elated at the reception.  In July 1992, Nureyev showed renewed signs of pericarditis but determined to forswear further treatment. His last public appearance was on 8 October 1992, at the premiere at Palais Garnier of a new production of La Bayadere that he choreographed after Marius Petipa for the Paris Opera Ballet. Nureyev had managed to obtain a photocopy of the original score by Minkus when in Russia in 1989. The ballet was a personal triumph although the gravity of his condition was evident. The French Culture Minister, Jack Lang, presented him that evening on stage with France's highest cultural award, the Commandeur de l'Ordre des Arts et des Lettres.

Using a quote from the above article, answer the following question: What is notable about that appearance?
HHHHHH
Answer:
The ballet was a personal triumph although the gravity of his condition was evident.