Answer the question at the end by quoting:

Alfred Cellier (1 December 1844 - 28 December 1891) was an English composer, orchestrator and conductor. In addition to conducting and music directing the original productions of several of the most famous Gilbert and Sullivan works and writing the overtures to some of them, Cellier conducted at many theatres in London, New York and on tour in Britain, America and Australia. He composed over a dozen operas and other works for the theatre, as well as for orchestra, but his 1886 comic opera, Dorothy, was by far his most successful work. It became the longest-running piece of musical theatre in the nineteenth century.
In December 1877 Cellier joined the D'Oyly Carte company as musical director at the Opera Comique in London. There he conducted The Sorcerer (1877), H.M.S. Pinafore (1878, for which he wrote the overture, based on themes from the opera), Trial by Jury (1878), George Grossmith's Cups and Saucers (1878-79), and three of his own one-act works: Dora's Dream (1877-78 revival), The Spectre Knight (1878), and After All! (1878-79). Cellier was conducting the performance of Pinafore during which the partners of The Comedy Opera Company attempted to repossess the set, and he was noted for his attempts to calm the audience during the fracas. His brother, Francois, succeeded him as musical director at the Opera Comique in 1879. Alfred Cellier was a conductor of a series of promenade concerts at the Queen's Theatre, Long Acre and, in 1878-1879 he was joint conductor, with Sullivan, of the Covent Garden Promenade Concerts.  In 1879, he travelled with Gilbert, Sullivan, and Carte to America, where he acted as conductor for Pinafore and The Pirates of Penzance, with Carte's first American touring company. Cellier prepared the overture to Pirates using Sullivan's music from the rest of the score. Back in London in July 1880, he directed the music at the Opera Comique for Pirates and another of his own pieces with Desprez, In the Sulks. In April 1881, he left the D'Oyly Carte company, ceding the baton to his brother. Cellier composed a three-act grand opera, Pandora, a version of Longfellow's The Masque of Pandora (with a libretto by B. C. Stephenson) that was presented in Boston in 1881. He returned to America later that year as music director of D'Oyly Carte's New York and touring productions of Billee Taylor (1882), Les Manteaux Noirs and Rip Van Winkle (both in the fall of 1882), and Iolanthe (1882-83), for the latter of which he prepared the New York overture.  In 1883, Cellier's setting of Gray's Elegy, in the form of a cantata, was produced at the Leeds music festival. In 1883, Cellier left the D'Oyly Carte company, but he was back for brief periods as music director with D'Oyly Carte's touring companies for Princess Ida (1884) and The Mikado (1885). In 1885, also, Cellier composed incidental music for a production of As You Like It. He composed two more companion pieces that had Savoy Theatre premieres: The Carp (performed with The Mikado and Ruddigore in 1886-87), and Mrs. Jarramie's Genie (composed together with his brother Francois, with libretti by Desprez, which played together with several different operas at the Savoy between 1887 and 1889).  While in London, Cellier conducted at several London theatres, including the Criterion, the St James's, and the Savoy. Later, as a result of ill health, he resided abroad, notably in America and Australia, where he was a representative for the D'Oyly Carte company.

did he create any musicals

He composed two more companion pieces that had Savoy Theatre premieres: The Carp (performed with The Mikado and Ruddigore in 1886-87),



Answer the question at the end by quoting:

Walston was born Herman Raymond Walston on November 2, 1914, in Laurel, Mississippi, the second son and youngest of three children born to lumberjack Harry Norman Walston (1881-1946) and Mittie (nee Kimball) Walston (December 25, 1883-August 16, 1950). He had an older sister, Carrie (1906-1982), and an older brother, Earl (February 4, 1908 - December 4, 1998). His family moved from Mississippi to New Orleans, Louisiana around 1925. He started acting at an early age, beginning his tenure as a spear carrier rounding out productions at many New Orleans theaters.
Walston was popular with Margo Jones's team of actors before he traveled to Cleveland, Ohio, where he spent 3 years with the Cleveland Play House. He then traveled to New York City, where he made his Broadway debut in a 1945 production of Hamlet. Three years later, Walston became one of the first members admitted to the newly formed Actors Studio.  In 1949, he appeared in the short-lived play Mrs. Gibbons' Boys, directed by George Abbott, who later cast him as Satan (who bore the name "Mr. Applegate") in the 1955 musical Damn Yankees opposite Gwen Verdon as his sexy aide Lola. The chemistry between the two was such that they both garnered critical success and won awards for their roles. After a decade in New York theater, he won a Tony Award.  He starred as Luther Billis in the 1951 London production of South Pacific. He reprised that role in the 1958 film adaptation. He and Juanita Hall (as Bloody Mary) were the only cast members to appear in both the stage and movie versions. Additional Broadway credits included The Front Page, Summer and Smoke, King Richard III, Wish You Were Here, and House of Flowers. In 1957, Actress and Producer Katharine Cornell placed him in a role on Broadway in Robert E. Sherwood's Pulitzer Prize winning play about the Hungarian Revolution of 1956, There Shall Be No Night. The play was adapted for television for a Hallmark Hall of Fame production. He had a prominent role in the Rodgers & Hammerstein musical Me and Juliet, portraying the stage manager of the musical-within-the-musical, but his character did not participate in any of the musical numbers.

who did he work with?
In 1949, he appeared in the short-lived play Mrs. Gibbons' Boys, directed by George Abbott,