which ranged from Noël Coward comedies to Shakespearean tragedies, she observed, "It's much easier to make people cry than to make them laugh." Her early performances brought her immediate success in Britain, but she remained largely unknown in other parts of the world until the release of Gone with the Wind. In December 1939, film critic Frank Nugent wrote in The New York Times, "Miss Leigh's Scarlett has vindicated the absurd talent quest that indirectly turned her up. She is so perfectly designed for the part by art and nature that any other actress in the role would be inconceivable", and as her fame escalated, she was featured on the cover of Time magazine as Scarlett. In 1969, critic Andrew Sarris commented that the success of the film had been largely due to "the inspired casting" of Leigh, and in 1998, wrote that "she lives in our minds and memories as a dynamic force rather than as a static presence". Film historian and critic Leonard Maltin described the film as one of the all-time greats, writing in 1998 that Leigh "brilliantly played" her role. Her performance in the West End production of A Streetcar Named Desire, described by the theatre writer Phyllis Hartnoll as "proof of greater powers as an actress than she had hitherto shown", led to a lengthy period during which she was considered one of the finest actresses in British theatre. Discussing the subsequent film version, Pauline Kael wrote that Leigh and Marlon Brando gave "two of the greatest performances ever put on film" and that Leigh's was "one of those rare performances that can truly be said to evoke both fear and pity." Her greatest critic was Kenneth Tynan who ridiculed Leigh's performance opposite Olivier in the 1955 production of Titus Andronicus, commenting that she "receives the news that she is about to be ravished on her husband's corpse with little more than the mild annoyance of one who would have preferred foam rubber." He was also critical of her reinterpretation of Lady Macbeth in 1955, saying that her performance was insubstantial and lacked the necessary fury demanded of the role. After her death, however, Tynan revised his opinion, describing his earlier criticism as "one of the worst errors of judgment" he had ever made. He came to believe that Leigh's interpretation, in which Lady Macbeth uses her sexual allure to keep Macbeth enthralled, "made more