in Barretts, died in July 1937. He had played his role 709 times, and traveled over 25,000 miles on tours, never getting drunk or arriving late. At his death, the Associated Press sent the story out over its entire network worldwide. The Wingless Victory In Maxwell Anderson's The Wingless Victory, McClintic decided to avoid the so-called "star entrance," where the audience expects the star of the play to enter grandly to general applause. Instead, he had another character take the star entrance, and only then was it revealed that Cornell was onstage. The effect was startling. Opened in 1936, the play received mixed reviews, and many bad ones, but Cornell was nonetheless respected for taking any role and twisting it to make it her own. Gently disparaging the play itself, Brooks Atkinson wrote that Cornell is "Our Queen of tragedy, a thoughtful actress and a great one." Alternating with Victory, Cornell revived Candida with Mildred Natwick as Prossy. After their conclusion, she took a year off and wrote her memoir (with the help of Ruth Woodbury Sedgewick) entitled I Wanted to Be an Actress. It was published by Random House in 1939. No Time for Comedy Cornell's general manager Gertrude Macy produced a musical revue One for the Money which starred unknown actors who later achieved fame, including Gene Kelly, Alfred Drake, Keenan Wynn and Nancy Hamilton. Immediately after that closed, Cornell starred in her second comedy, No Time for Comedy by S. N. Behrman. McClintic cast the young Laurence Olivier in the leading role of Gaylord. During rehearsals, Cornell had a difficult time with the comedic timing, and someone shook their head and said, "Poor old Kit!" Olivier shot back, "Poor old Kit is the most successful woman in the American theater! The richest, the most beautiful, the most sought after, the most distinguished, the most loved — Poor old Kit indeed!" In his memoir, Behrman wrote, "Miss Cornell had less [exhibitionism] than any actress or actor I have ever known. Her position in the theatre transcended technique.... It was something essential in herself, as a person, that the audiences sensed and reached out to.... The whole stage and the other actors took light from the radiance of her personality." The play opened on April 17, 1939, and became the third-biggest money-maker for Cornell, and the second production to gross over a million dollars. With a few cast changes,