input: The original Australian production opened in October 1960 at the Princess Theatre in Melbourne, before touring to the Tivoli Theatre in Sydney in February 1961. Subsequent Australian national tours have been staged in 1983, 1994 and 2010.  In 1961, a tour of Israel, Africa and the Near East was mounted. In February 1962, the West End (H. M. Tennent) production launched a five-month Scandinavian tour opening in Copenhagen, continuing to Oslo, Gothenburg, Stockholm and Helsinki. Robert Jeffrey took over from David Holliday as Tony and Jill Martin played Maria. In 1977, Amor Sin Barreras was produced in Mexico City by Alfonso Rosas Prigo, & Ruben Boido, Direction by Ruben Boido, presented at the Hidalgo Theater. Gualberto Castro played the part of Tony; Maria Medina was Maria, among other cast members was Macaria. From 1982-1984 a tour of South America, Israel and Europe was mounted with talent from New York. The Director/Choreographers for that production were Jay Norman and Lee Theodore, veterans of the original Broadway cast. The Japanese Takarazuka Revue has performed the show twice. It was produced by the Moon Troupe in 1998 and again in 1999 by the Star Troupe. A Hong Kong production was produced in 2000 with Cantonese lyrics, featuring Hong Kong rock star Paul Wong as Tony. It was staged at the outdoor plaza of Hong Kong Cultural Centre. Canada's Stratford Shakespeare Festival performed West Side Story in 1999, starring Tyley Ross as Tony and Ma-Anne Dionisio as Maria, and again in 2009,  The Austrian Bregenz Festival presented West Side Story in a German translation by Marcel Prawy in 2003 and 2004, directed by the Francesca Zambello, followed by a German tour. A French language adaptation, translated by Philippe Gobeille, opened in Montreal, Quebec in March 2008. A Philippine version played in 2008 at the Meralco Theatre. It featured Christian Bautista as Tony, Karylle and Joanna Ampil as Maria. Also in 2008, an adaptation played in Portugal, directed by Filipe La Feria, with the name West Side Story - Amor Sem Barreiras, in the Politeama Theater, in Lisbon, with Ricardo Soler as Tony and Lucia Moniz and Anabela splitting the role of Anita.  An international tour (2005-2010), directed and choreographed by Joey McKneely played in Tokyo, Paris, Austria, Switzerland, Germany, Singapore, Sao Paulo, France, Taiwan, China, Italy, Rotterdam and Madrid. In 2011, a Lima production was produced by "Preludio Asociacion Cultural" with Marco Zunino as Tony, Rossana Fernandez-Maldonado as Maria, Jesus Neyra as Bernardo, Tati Alcantara as Anita and Joaquin de Orbegoso as Riff.

Answer this question "Was the international productions considered a success"
output: 

input: Stirling refers to Grant as "one of the shrewdest businessmen ever to operate in Hollywood". His long-term friendship with Howard Hughes from the 1930s onward saw him invited into the most glamorous circles in Hollywood and their lavish parties. Biographers Morecambe and Stirling state that Hughes played a major role in the development of Grant's business interests, so that by 1939, he was "already an astute operator with various commercial interests". Scott also played a role, encouraging Grant to invest his money in shares, making him a wealthy man by the end of the 1930s. In the 1940s, Grant and Barbara Hutton invested heavily in real estate development in Acapulco at a time when it was little more than a fishing village, and teamed with Richard Widmark, Roy Rogers, and Red Skelton to buy a hotel there. Behind his business interests was a particularly intelligent mind, to the point that his friend David Niven once said: "Before computers went into general release, Cary had one in his brain". Film critic David Thomson believes that Grant's intelligence came across on screen, and stated that "no one else looked so good and so intelligent at the same time".  After Grant retired from the screen, he became more active in business. He accepted a position on the board of directors at Faberge. This position was not honorary, as some had assumed; Grant regularly attended meetings and travelled internationally to support them. His pay was modest in comparison to the millions of his film career, a salary of a reported $15,000 a year. Such was Grant's influence on the company that George Barrie once claimed that Grant had played a role in the growth of the firm to annual revenues of about $50 million in 1968, a growth of nearly 80% since the inaugural year in 1964. The position also permitted use of a private plane, which Grant could use to fly to see his daughter wherever her mother, Dyan Cannon, was working.  In 1975, Grant was an appointed director of MGM. In 1980, he sat on the board of MGM Films and MGM Grand Hotels following the division of the parent company. He played an active role in the promotion of MGM Grand Hotel in Las Vegas when opened in 1973, and he continued to promote the city throughout the 1970s. When Allan Warren met Grant for a photo shoot that year he noticed how tired Grant looked, and his "slightly melancholic air". Grant later joined the boards of Hollywood Park, the Academy of Magical Arts (The Magic Castle, Hollywood, California), and Western Airlines (acquired by Delta Air Lines in 1987).

Answer this question "Where was the business located?"
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input: Tittle threw the ball from a sidearm, almost underhand position, something novel at those times, though it was common practice in earlier decades. It was this seemingly underhand style that drew the curiosity and admiration of many fans. In tandem with his baldness--for which he was frequently referred to as the "Bald Eagle"--he made for a very striking personality. Despite his throwing motion, he had a very strong and accurate arm with a quick release. It was because of his quick release and ability to read defenses that he became one of the best screen passers in the NFL. He was a perfectionist and highly competitive, and he expected the same of his teammates. He possessed rare leadership and game-planning skills, and played with great enthusiasm even in his later years. "Tittle has the attitude of a high school kid, with the brain of a computer," said Giants teammate Frank Gifford. Baltimore Colts halfback Lenny Moore, when asked in 1963 to compare Tittle and Colts quarterback Johnny Unitas, said:  I played with Tittle in the Pro Bowl two years ago, and I discovered he's quite a guy ... He and John, however, are entirely different types ... Tittle is a sort of 'con man' with his players ... he comes into a huddle and 'suggests' that maybe this or that will work on account of something he saw happen on a previous play ... The way he puts it, you're convinced it's a good idea and maybe it will work. John, now, he's a take-charge guy ... He tells you what the other guy's going to do, what he's going to do, and what he wants you to do.  Tittle's most productive years came when he was well beyond his athletic prime. On his ability to improve with age, he credited a feel for the game that came from his years of experience in the league. "If you could learn it by studying movies, a good smart college quarterback could learn all you've got to learn in three weeks and then come in and be as good as the old heads," he told Sports Illustrated in 1963. "But they can't."

Answer this question "was he married?"
output: