Question: Povenmire was born in San Diego, California on September 18, 1963, and grew up in the city of Mobile, Alabama. A child prodigy, he began drawing at age two; by the time he was ten, his work was displayed in local art shows. His first efforts in animation included a series of flip books that he produced in his school text books. As a child, Povenmire considered animator Chuck Jones his hero; in a 2009 interview, he stated that "every drawing he [Jones] did was beautiful to look at and had so much energy in it".

In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors. Povenmire spent 14-16 years pitching Phineas and Ferb to several networks. Most rejected it as unfeasible for the complexity of its plots, but Povenmire persevered, later observing "It was really the show we wanted to see: if this was on the air, I'd watch it, and I don't always feel that about every show I work on." Even the Walt Disney Company initially rejected Povenmire's pitch, but asked to keep the proposal packet: "Usually that means they throw it in the trash later," Povenmire recalled. Eventually Disney called Povenmire back with an acceptance, on the condition that he would produce an 11-minute pilot. He called Marsh, who was living in England, to ask him if he would like to work on the pilot; Marsh accepted immediately and moved back to the United States.  Instead of a conventional script, the pair pitched the pilot by recording reels of its storyboard, which Povenmire then mixed and dubbed to produce action and vocals. The network approved the show for a 26-episode season. Povenmire left Family Guy to create the series.  Povenmire and Marsh wanted to incorporate into Phineas and Ferb the kind of humor they had developed in their work on Rocko's Modern Life. They included action sequences and, with Disney's encouragement, featured musical numbers in every episode subsequent to "Flop Starz". Povenmire described the songs as his and Marsh's "jab at immortality", but the pair have earned two Emmy nominations for Phineas and Ferb songs to-date. A third Emmy nomination, for the episode "The Monster of Phineas-n-Ferbenstein" (2008), pitted the show against SpongeBob SquarePants, although neither nominee received the award due to a technicality. In 2010, Povenmire was nominated amongst several other Phineas and Ferb crew members for the Daytime Emmy Award for both "Outstanding Writing in Animation" and "Outstanding Original Song - Children's and Animation" for their work on the show, winning for "Outstanding Writing in Animation".  The distinctive style of the animation legend Tex Avery influenced the show's artistic look. Like Avery, Povermire employed geometric shapes to build both the characters and the background. The style developed almost accidentally, with Povenmire's first sketch of title character, Phineas Flynn, which he produced while eating dinner with his family in a restaurant in South Pasadena, California. He doodled a triangle-shaped child on the butcher paper covering the table. He was so taken with sketch he tore it out, kept it, and used it as the prototype for Phineas and as the stylistic blueprint for the entire show.

Using a quote from the above article, answer the following question: What role did Povenmire play in Phineas and Ferb?
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Answer: In 1993, Povenmire and Marsh conceived the series Phineas and Ferb, based on their similar experiences of childhood summers spent outdoors.


Question: The King and I is the fifth musical by the team of composer Richard Rodgers and dramatist Oscar Hammerstein II. It is based on Margaret Landon's novel, Anna and the King of Siam (1944), which is in turn derived from the memoirs of Anna Leonowens, governess to the children of King Mongkut of Siam in the early 1860s. The musical's plot relates the experiences of Anna, a British schoolteacher hired as part of the King's drive to modernize his country. The relationship between the King and Anna is marked by conflict through much of the piece, as well as by a love to which neither can admit.

The first revival of The King and I in New York was presented by the New York City Center Light Opera Company in April and May 1956 for three weeks, starring Jan Clayton and Zachary Scott, directed by John Fearnley, with Robbins' choreography recreated by June Graham. Muriel Smith reprised her London role of Lady Thiang, and Patrick Adiarte repeated his film role, Chulalongkorn. This company presented the musical again in May 1960 with Barbara Cook and Farley Granger, again directed by Fearnley, in another three-week engagement. Atkinson admired the purity of Cook's voice and thought that she portrayed Anna with "a cool dignity that gives a little more stature to the part than it has had before." He noted that Granger brought "a fresh point of view - as well as a full head of hair". Joy Clements played Tuptim, and Anita Darian was Lady Thiang. City Center again presented the show in June 1963, starring Eileen Brennan and Manolo Fabregas, directed by Fearnley. Clements and Darian reprised Tuptim and Thiang. In the final City Center Light Opera production, Michael Kermoyan played the King opposite Constance Towers for three weeks in May 1968. Darian again played Lady Thiang. For all of these 1960s productions, Robbins' choreography was reproduced by Yuriko, who had played the role of Eliza in the original Broadway production and reprised the role in the City Center productions.  The Music Theatre of Lincoln Center, with Rodgers as producer, presented the musical in mid-1964 at the New York State Theater, starring Rise Stevens and Darren McGavin, with Michael Kermoyan as the Kralahome. Lun Tha, Tuptim and Thiang were played by Frank Porretta, Lee Venora and Patricia Neway. Costumes were by Irene Sharaff, the designer for the original productions and the film adaptation. The director was Edward Greenberg, with the Robbins choreography again reproduced by Yuriko. This was Music Theatre's debut production, a five-week limited engagement.  The King and I was revived at London's Adelphi Theatre on October 10, 1973, running for 260 performances until May 25, 1974, starring Sally Ann Howes as Anna and Peter Wyngarde as the King. Roger Redfarn directed, and Sheila O'Neill choreographed. The production, which began in June 1973 with a tour of the English provinces, earned mixed to warm reviews. Michael Billington in The Guardian called the revival "well played and well sung". Although he was enthusiastic about Howes as Anna, Billington thought Wyngarde "too fragile to be capable of inspiring unholy terror". He praised Redfarn's production - "whipped along at a good pace and made a sumptuous eyeful out of the interpolated ballet on 'Uncle Tom's Cabin'." Less favorably, Robert Cushman in The Observer thought the production "scenically and economically under-nourished". He liked Wyngarde's King ("a dignified clown") but thought Howes not formidable enough to stand up to him as Anna. He noted that "she sings beautifully and the songs are the evening's real justification".

Using a quote from the above article, answer the following question: Why did it close after 3 weeks?
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Answer: