GRANVILLE-BARKER, HARLEY GRANVILLE (1877— ), British playwright, was born in London on Nov. 25, 1877. At the age of 13 he was sent to the Theatre Royal, Margate, then a combination of stock company, theatre and dramatic school. He first appeared in London in the following year, at the Comedy theatre, under Charles Hawtrey. His first play, written in 1893, was produced by amateurs. From 1895 onwards he acted in a variety of plays, in Shakespeare with Ben Greet, and, with William Poel, in Richard II. and Marlowe's Edward II. In his play The Weather-hen (written in collaboration with Herbert Thomas) was produced in London. In 190o he became interested in the newly formed Stage Society, first as actor, then as pro ducer, and his own play, The Marrying of Ann Leete, was pro duced by the society in 1901. In 1903 he collaborated with William Archer in the framing of A Scheme and Estimates for a National Theatre. In 1904 he joined J. E. Vedrenne in the man agement of the Court theatre, London. There, during three years he produced, and at first acted, in a variety of plays by Ibsen, Bernard Shaw, St. John Hankin, John Galsworthy, John Mase field, Maurice Hewlett, Gilbert Murray (translations from Euripi des) and his own The Voysey Inheritance (1905). His manage ment at the Court may be said to have been the beginning of the great vogue of the plays of Bernard Shaw. His services to the English theatre in producing many other plays which would have had little chance of production by the commercial stage of that day were very great. In 1906 he wrote the charming Pierrot play, Prunella, in collaboration with Laurence Housman. A later play, Waste (1906) was banned by the censor, but was privately per formed by the Stage Society. The Madras House (1909) was produced by the Frohman Repertory company at the Duke of York's theatre in 191o, and a revised version of it was revived in By 191 o he had given up acting, but until 1914 produced plays in London, including two by Shakespeare upon a platform stage with "conventional" decoration. He was as great an innovator in stage decor as he had been in the production of new plays. Again his experiments were the forerunners of a movement which has since had greater developments. After the World War he pre pared a series of translations, in collaboration with his wife, Helen Granville-Barker, of Spanish plays, the most successful of which on the English stage, was The Kingdom of God, by G. Martinez Sierra. He published various other works, including The Exemplary Theatre (1922), dramatic criticism, also transla tions of several foreign authors.