LOCAL theatre talent is being stifled as major production companies take control of regional theatres, says an independent producer from Poole.

Julie Harrison, founding member of the IroniComment theatre company, based at Poole's Lighthouse, believes it's an important issue for this area.

"There are approximately seven theatre venues in the Poole and Bournemouth area and many performing arts courses to provide the training, but local talent is just not being given opportunity to work locally," she says.

IroniComment, which recently performed its production The Eight Foot Leap at Lighthouse, is part of an initiative to encourage small-scale theatre in the region.

In response to Theatre Locality plans drawn up by the Arts Council South West, the company is working in a project group of local professionals, venue promoters and arts administrators, who hope to increase opportunities for independent talent.

"Theatre in the area is traditionally entertainment-based, and gears itself towards outsiders and the more popular established shows," says Julie.

Her comments come in light of claims made recently by Charles Vance, ex-president of the Theatrical Management Association, in theatrical trade paper The Stage.

With two national companies - Clear Channel Entertainment and Ambassador Theatre Group - controlling more then 30 venues nationwide, Mr Vance likened the impact of these regional chains on the theatre market to that of the supermarkets on food shopping.

And while the success of this year's Edinburgh Fringe points to a thriving grass-roots theatre scene, he suggests that independent producers are finding it hard to compete in the long run with regional chains.

Talking of the road to extinction of small-scale producers, Vance predicts that major corporate operators will seek to fill their venues with their own productions, preventing independent producers from reaching major audiences.

But Highcliffe-based theatre producer turned West End success-story, Michael Rose, insists the real problem is lack of government funding for the arts.

"There may be a spate of domination by larger theatre chains, but the industry will rebalance itself - it always does. If you take the shopping example and look at the major supermarkets, they are all in the process of buying local forecourts and setting up corner shop-type stores," he says.

Michael, who has experienced theatre production as both an underdog and a renowned regional competitor, is currently producing the West End sensation Chitty Chitty Bang Bang.

"At the moment the industry is just addressing demand. You can't blame producers for choosing safe bets, which are the familiar faces and talent, when the arts are so terribly under-funded. If you compare it to sport for instance, theatre lacks any sort of position in terms of television."

In response to the feared extinction of small-scale theatre, Rose is optimistic that opportunity still exists.

"As far as local producers and performers are concerned, talent will find its own level."