Dreamscape can trace its origins back to 2001, when the core members of the team were involved in a production of The Lover, by Harold Pinter.  Then, as Dreamsurf, it regularly staged productions in Canada, as well as here in Britain, including The Mysterious Mr Love, William the Bard and The Roundel.

In 2004, by special request, the company produced Edward Albee’s Seascape in Winnipeg, and in 2005 Dreamscape staged two more productions in Canada: Damnee Manon, Sacree Sandra, and Bless You, Billy Wilder, both by acclaimed Canadian playwrights.

Future projects for Dreamscape include taking a production of a new play, Full of Sound and Fury to Wellington in New Zealand, where we have been invited to perform at the Paramount.  We also plan further productions in Canada, and have been invited to Germany, Croatia and Brazil.

Based in Birmingham, Dreamscape is delighted to be able to be involved in a regional project.  We have a great loyalty to this area, which makes it all the more ironic that most of our projects tend to be abroad.  However, by flying the flag overseas, we are at least able to illustrate that the Midlands region is an area rich in Theatrical and Artistic abilities. Long may this continue!

THEATRE IN THE MIDLANDS

There is a huge and varied pool of talent in this region: Actors, Directors, Writers, Producers, Stage Managers and Technicians.  Sadly, in this region we have constantly had to somehow justify our very artistic existence in the face of London centralisation.  Some years ago, when asked why it was not using any local actors, a casting director for a major television network blandly stated; “we can’t find any actors in Birmingham”.  Perhaps so, but only because they had not bothered to look. Auditions for Midlands-based theatre, film and television work are frequently held in London.  Needless to say, Midlands actors do not get their expenses paid for having to travel down to audition, while London actors cast in the roles will be paid travelling expenses and living allowances to be up here. But after all: “we can’t find any actors in Birmingham”.

To prove just how wrong this attitude is, we need high profile showcase productions such as “If Only the Dead could Listen” to help to highlight the wealth of talent in this region.  All of the team, both artistic and performing, have strong links with this region.  Most live here, or have trained here, or both. Director Marcus Fernando has a firm belief and commitment to the artistic resources of this area.  Over the past twelve years he has directed many productions in the Midlands, and has invariably been able to meet all of his casting, technical and stage managerial requirements from the area.  Quality has never been compromised. Indeed, in the audition processes, the level of ability and versatility was found to be every bit as high as for auditions held in London.

Midlands actors suffered something of a setback recently when the main local theatrical agent, CADS Management, collapsed.  Much of the money disappeared along with the agent, and many of the actors were left seriously out of pocket. Despite the involvement of the Actors Union, Equity, court proceedings so far have come to nothing and the agent concerned still has not been located. For a while, there was a large gap left where CADS had been, but now this has been rectified.  Veteran actor Neale McGrath has established NealeStephenManagement, and Keith Potts and Karin Heslop have set up Mouthpiece Casting, both of which work together to help promote artistic abilities in this region.  Already they are both enjoying great success, all the more so because they work in co-operation, rather than competition with each other.

We have found further support with this particular production from The Birmingham and Midland Institute, and The Arts Council England.  Their support for this production is greatly appreciated, particularly as a means of furthering Arts projects in the area.

In this region we will always be considered second best to London, not because we are, but because it suits those in London to promote that view. However, it is unfortunate that too many influential individuals and organisations in the regions blindly accept that view, without ever seeking to challenge it.  Let us hope that this production, and the media interest it attracts, will go some way towards redressing the balance.  Please support regional arts.  Thank you!

Marcus Fernando – Director: “If only the Dead could Listen”