Question: Arabic weddings (Arabic: zff, frH, or `rs) have changed greatly in the past 100 years. Original traditional Arabic weddings are supposed to be very similar to modern-day Bedouin weddings and rural weddings, and they are in some cases unique from one region to another, even within the same country. it must be mentioned that what some people today call "Bedouin" wedding is in fact the original true traditional Arab Islamic wedding without foreign influence. The marriage process usually starts with meetings between the couple's families, and ends with the wedding's consummation (leilat al-dokhla).

In Old Palestine, the henna night was a night used to prepare all the necessary wedding decorations and last minute arrangements. It was also a chance for the families to celebrate together before the wedding. The groom's family would sahij or dance through the streets of the village until reaching the house of the bride. Once there, the family would mix henna together, which would then be used to decorate the bride and grooms hands (with the groom's being merely the initials of his bride and himself), and then offer the bride her mahr (usually gold as it does not decline in value like other wealth). The families would then dance and sing traditional Palestinian music.  In modern times, particularly those not living in Palestine, the henna night remains traditional in customs, but is very similar to a bachelorette party; the bride's female friends and relatives join her in celebrating, which includes food, drinks, and a lot of dancing. A women's group plays Arabic music, sometimes Islamic music, while everyone dances. A woman draws henna or mehndi, a temporary form of skin decoration using henna, on the bride and guests' skin -- usually the palms and feet, where the henna color will be darkest because the skin contains higher levels of keratin there, which binds temporarily to lawsone, the colorant of henna.  The men will also have a party, in which the groom's family and friends will dance to traditional Palestinian music. In some village customs, the groom's face is shaven by a close family member or friend in preparation for his wedding. The tradition of giving the bride her gold is also still used. The groom will enter where the bride is, they well both get their henna done, and the groom will then offer the bride her mahr. Thus, the wedding being merely dancing and celebration.  An important element of the henna night in both traditional and non-traditional henna parties, is the dress adorned by the Palestinian women and the groom. The women dress in traditional (usually hand embroidered) gowns, known as Palestinian ithyab. The brides thobe would be extravagant and exquistely embroidered. The groom will wear the usual traditional Arab men's thobe and hata (head covering).

Using a quote from the above article, answer the following question: What types of things take place nowadays?
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Answer: the bride's female friends and relatives join her in celebrating, which includes


Question: George Orson Welles was born May 6, 1915, in Kenosha, Wisconsin, son of Richard Head Welles (b. Richard Hodgdon Wells, November 12, 1872, near St. Joseph, Missouri; d. December 28, 1930, Chicago, Illinois) and Beatrice Ives Welles (b. Beatrice Lucy Ives, September 1, 1883, Springfield, Illinois; d. May 10, 1924, Chicago).

Breaking with the Federal Theatre Project in 1937, Welles and Houseman founded their own repertory company, which they called the Mercury Theatre. The name was inspired by the title of the iconoclastic magazine, The American Mercury. Welles was executive producer, and the original company included such actors as Joseph Cotten, George Coulouris, Geraldine Fitzgerald, Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.  "I think he was the greatest directorial talent we've ever had in the [American] theater," Lloyd said of Welles in a 2014 interview. "When you saw a Welles production, you saw the text had been affected, the staging was remarkable, the sets were unusual, music, sound, lighting, a totality of everything. We had not had such a man in our theater. He was the first and remains the greatest."  The Mercury Theatre opened November 11, 1937, with Caesar, Welles's modern-dress adaptation of Shakespeare's tragedy Julius Caesar -- streamlined into an anti-fascist tour de force that Joseph Cotten later described as "so vigorous, so contemporary that it set Broadway on its ear." The set was completely open with no curtain, and the brick stage wall was painted dark red. Scene changes were achieved by lighting alone. On the stage was a series of risers; squares were cut into one at intervals and lights were set beneath it, pointing straight up to evoke the "cathedral of light" at the Nuremberg Rallies. "He staged it like a political melodrama that happened the night before," said Lloyd.  Beginning January 1, 1938, Caesar was performed in repertory with The Shoemaker's Holiday; both productions moved to the larger National Theatre. They were followed by Heartbreak House (April 29, 1938) and Danton's Death (November 5, 1938). As well as being presented in a pared-down oratorio version at the Mercury Theatre on Sunday nights in December 1937, The Cradle Will Rock was at the Windsor Theatre for 13 weeks (January 4-April 2, 1938). Such was the success of the Mercury Theatre that Welles appeared on the cover of Time magazine, in full makeup as Captain Shotover in Heartbreak House, in the issue dated May 9, 1938--three days after his 23rd birthday.

Using a quote from the above article, answer the following question: Was any one else part of his crew?
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Answer:
Arlene Francis, Martin Gabel, John Hoyt, Norman Lloyd, Vincent Price, Stefan Schnabel and Hiram Sherman.