input: Ivan was the first son of Vasili III and his second wife, Elena Glinskaya, who was of half Serbian and half Lipka Tatar descent, the Glinski clan (nobles based in the Grand Duchy of Lithuania) claiming descent from the Mongol ruler Mamai (1335-1380.) When Ivan was three years old, his father died from an abscess and inflammation on his leg that developed into blood poisoning. Ivan was proclaimed the Grand Prince of Moscow at the request of his father. His mother Elena Glinskaya initially acted as regent, but she died of what many believe to be assassination by poison, in 1538 when Ivan was only eight years old. The regency then alternated between several feuding boyar families fighting for control. According to his own letters, Ivan, along with his younger brother Yuri, often felt neglected and offended by the mighty boyars from the Shuisky and Belsky families. In a letter to Prince Kurbski Ivan remembers, "My brother Iurii, of blessed memory, and me they brought up like vagrants and children of the poorest. What have I suffered for want of garments and food!!" It should be noted, however, that the historian Edward L Keenan has presented compelling reasons to doubt the authenticity of the source in which these quotes are found. On 16 January 1547, at age sixteen, Ivan was crowned with Monomakh's Cap at the Cathedral of the Dormition. He was the first to be crowned as "Tsar of All the Russias", hence claiming the ancestry of Kievan Rus'. Prior to that, rulers of Muscovy were crowned as Grand Princes, although Ivan III the Great, his grandfather, styled himself "tsar" in his correspondence. Two weeks after his coronation, Ivan married his first wife Anastasia Romanovna, a member of the Romanov family, who became the first Russian tsaritsa. By being crowned Tsar, Ivan was sending a message to the world and to Russia: he was now the only supreme ruler of the country, and his will was not to be questioned. "The new title symbolized an assumption of powers equivalent and parallel to those held by former Byzantine Emperor and the Tatar Khan, both known in Russian sources as Tsar. The political effect was to elevate Ivan's position." The new title not only secured the throne, but it also granted Ivan a new dimension of power, one intimately tied to religion. He was now a "divine" leader appointed to enact God's will, as "church texts described Old Testament kings as 'Tsars' and Christ as the Heavenly Tsar." The newly appointed title was then passed on from generation to generation: "succeeding Muscovite rulers ... benefited from the divine nature of the power of the Russian monarch ... crystallized during Ivan's reign."

Answer this question "What happened to his parents growing up?"
output: When Ivan was three years old, his father died

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: Did any of the early revivals run a long time?
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Answer:
October 10, 1973, running for 260 performances until May 25, 1974,