Several of the new medium's biggest attractions came from vaudeville and the musical theater, where performers such as Al Jolson, Eddie Cantor, Jeanette MacDonald, and the Marx Brothers were accustomed to the demands of both dialogue and song. James Cagney and Joan Blondell, who had teamed on Broadway, were brought west together by Warner Bros. in 1930. A few actors were major stars during both the silent and the sound eras: John Barrymore, Ronald Colman, Myrna Loy, William Powell, Norma Shearer, the comedy team of Stan Laurel and Oliver Hardy, and Charlie Chaplin, whose "City Lights" (1931) and "Modern Times" (1936) employed sound almost exclusively for music and effects. Janet Gaynor became a top star with the synch-sound but dialogueless "Seventh Heaven" and "Sunrise", as did Joan Crawford with the technologically similar "Our Dancing Daughters" (1928). Greta Garbo was the one non–native English speaker to retain Hollywood stardom on both sides of the great sound divide. Silent film extra Clark Gable, who had received extensive voice training during his earlier stage career, went on to dominate the new medium for decades; similarly, English actor Boris Karloff, having appeared in dozens of silent films since 1919, found his star ascend in the sound era (though, ironically, it was a non-speaking role in 1931's "Frankenstein" that made this happen, but despite having a lisp, he found himself much in demand after). The new emphasis on speech also caused producers to hire many novelists, journalists, and playwrights with experience writing good dialogue. Among those who became Hollywood scriptwriters during the 1930s were Nathanael West, William Faulkner, Robert Sherwood, Aldous Huxley, and Dorothy Parker.