question: Helena and Lysander are fictional characters in what William Shakespeare play?
answer: "A Midsummer Night's Dream"
context: Title: Fortinbras
  Passage: Fortinbras is either of two minor fictional characters from William Shakespeare's tragedy "Hamlet".  The more notable is a Norwegian crown prince with a few brief scenes in the play, who delivers the final lines that represent a hopeful future for the monarchy of Denmark and its subjects.  Fortinbras is also the name of the former king of Norway and father of the crown prince Fortinbras.  King Fortinbras was slain in the play's antecedent action in battle with King Hamlet.  The battle between the two is described by Horatio in Act One, Scene One (I,i) of the play.
  Title: Into the Gauntlet
  Passage: Into the Gauntlet is the tenth book in "The 39 Clues" novel series.  It was written by Margaret Peterson Haddix and released on August 31, 2010.  In the beginning of the book, Amy and Dan are now at the end of their clue hunt, and every misfortune they've had.  Their lead is a poem found in their hotel room.  However, it is then stolen by Isabel Kabra.  It is revealed that William Shakespeare was a powerful Madrigal and the most important clue is on the line against their competitors.  Dan and Amy are supposed to go to the Globe theater to watch a Shakespeare play, "Romeo and Julliet".  While watching the show they see what looks to be ninjas.  The ninjas find a clue at the top of the theater but drop it into the hands of Dan and Amy.  As it turns out the whole Cahill family is at the play looking for the clue.  Backstage of the play the fight over the paper found at the theater.  Mr. McIntyre and Fiske Cahill reveal there is another family out there that makes Isabel Kabra look like Mother Teresa.  The globe on the 39 Clues symbol is, unlike in the first nine books, shattered into pieces.
  Title: Love's Labour's Won
  Passage: Love's Labour's Won is a lost play attributed by contemporaries to William Shakespeare, written before 1598 and published by 1603, though no copies are known to have survived.  Scholars dispute whether it is a true lost work, possibly a sequel to "Love's Labour's Lost", or an alternative title to a known Shakespeare play.
  Title: Helena (A Midsummer Night's Dream)
  Passage: Helena is a fictional character and one of the four young lovers – Demetrius, Lysander, Hermia and Helena – featured in William Shakespeare's play "A Midsummer Night's Dream".
  Title: The Philadelphia Shakespeare Festival
  Passage: The Philadelphia Shakespeare Festival is an annual Shakespearean theatre festival in Philadelphia.  Every year, The Festival produces two or three productions of Shakespeare's plays.  Starting out as the Red Heel Theatre in 1989, and changing name and purpose in 1993, The Philadelphia Shakespeare Festival is now the region’s only theatre devoted entirely to Shakespeare’s works.  In 2008/9, they engaged in intensive planning with the board of directors and cultural and community leaders and decided to re-brand and rename the company to better reflect their programming.  The Philadelphia Shakespeare Theatre now has several programs for adults and students including a lecture series featuring world-renowned Shakespeare scholars, Shakespeare School Tour which also tours in schools, and a Classical Acting Academy providing early career actors with intense classical training culminating in a free summer Shakespeare play for the public.
  Title: Lysander (A Midsummer Night's Dream)
  Passage: Lysander is a fictional character in William Shakespeare's play "A Midsummer Night's Dream".
  Title: Demetrius (Shakespeare)
  Passage: Demetrius is one of the iconic lovers in William Shakespeare's play A Midsummer Night's Dream.  He is a young Athenian man who is engaged to a young Athenian girl, Hermia.  He claims to love but really just appears this way to gain Duke Theseus' and Egeus' support(in one interpretation).  However, Hermia does not love Demetrius, but instead she loves a man called Lysander.  Demetrius follows Hermia and Lysander into the woods once they have fled Athens whilst Helena follows him.  Helena craves Demetrius' love but he doesn't return her love and instead finds her annoying and a nuisance as she persists to win his heart.  Eventually Demetrius does fall in love with Helena due to Oberon and Puck putting the love juice on his eyes.  The storyline is complex and it shows the difficulties of true love through comedy.
  Title: Love's Labour's Lost (film)
  Passage: Love's Labour's Lost is a 2000 adaptation of the comic play of the same name by William Shakespeare, directed by and starring Kenneth Branagh.  It was the first feature film to be made of this lesser-known comedy.  Branagh's fourth film of a Shakespeare play (he did not direct the 1995 "Othello", although he did play Iago), "Love's Labour's Lost" was a box-office and critical disappointment.
  Title: The Boys from Syracuse
  Passage: The Boys from Syracuse is a musical with music by Richard Rodgers and lyrics by Lorenz Hart, based on William Shakespeare's play, "The Comedy of Errors", as adapted by librettist George Abbott.  The score includes swing and other contemporary rhythms of the 1930s.  The show was the first musical based on a Shakespeare play.  "The Comedy of Errors" was itself loosely based on a Roman play, "The Menaechmi, or the Twin Brothers", by Plautus.
  Title: Thomas J. King Jr.
  Passage: Professor Thomas J. King Jr. (July 25, 1925 – 1994) was an educator, and an early user of word processing and sequence analysis to compare available early versions of William Shakespeare's plays for identification of variant texts and their analysis.  Dr. King's historical work also researched original prompt copies of Elizabethan Era and Jacobean Era plays contemporary to Shakespeare, along with their marginalia, in order to identify stage directions and infer physical staging of Shakespeare's plays at the Globe and other London venues, as well as at provincial halls and inns where Elizabethan troupes performed on tour.  In his extensive studies, Prof. King created databases of every Shakespeare play and other extant Elizabethan contemporary playhouse documents, by scene and character, to determine number of lines, and therefore the roles that could be doubled with sufficient time between for costume change, thus enabling him to determine the size of a working Elizabethan theater company.
citations: Helena (A Midsummer Night's Dream) Lysander (A Midsummer Night's Dream)