AN experimental Chinese-UK theater coproduction features three alienated characters in modern, money-mad and consumer-driven Shanghai. They include a Chinese businesswoman who speaks little English, an English businessman who speaks no Chinese, and a bilingual returning overseas Chinese businessman from Wall Street.

The play "Consumed" (by consumerism) is underway in London, produced by the Shanghai Drama Arts Center in association with Border Crossings from the UK. It is performed in English and Mandarin with subtitles.

Set during the 2008 financial crisis, characters use the latest technology in phones and the Internet to communicate, but communication constantly fails: across language, across culture, across gender, across time. The Englishman and Chinese woman begin to fall in love, but the returning overseas Chinese, who used to be the woman's boyfriend 20 years ago, still has feelings for her. He happens upon her Skype message to the Englishman and he responds affectionately in his stead. The story gets complicated.

It's been running for several weeks and has been well-received by an audience of both overseas living in London, and Westerners.

The play, involving lots of high-tech devices and effects, is described as experimental theater and inter-cultural theater, aimed at the Chinese community and younger audiences. Related activities include post-show discussions.

This is one example of Chinese drama seeking a wider international audience, beyond those who would attend showcase, cultural-exchange presentations of traditional Chinese operas.

Chinese element

"Some Chinese local dramas have been recognized by international audiences," says Zhang Yu, director of the Shanghai Modern Theater, a Shanghai-based theater troupe. "In the international theater market, some Chinese versions of classic Western dramas are also popular."

Last year, the Chinese version of Agatha Christie's "The Mouse Trap" was performed in Chinese by the Modern Theater at St Martin Theater in London to celebrate the 60th anniversary of the well-loved play. It was a short run.

Two years ago, the Shanghai Theater Academy presented "Romance of the West Camber" at the Avignon Theater Festival. The classic, performed in Chinese with subtitles, was directed by Frenchman Gérard Gelas. It was staged for one month at the Theatre du Chene Noir as the OFF part of the festival that celebrates contemporary life theater.

Noted Chinese director Meng Jinghui also took six original Chinese dramas to that festival as cultural exchange productions. "It was the first time a Chinese theatrical troupe staged at this top international theater festival," says Gong Baorong, vice director of the Shanghai Theater Academy.

Festival d'Avignon was founded in 1947 and is supported by the French government. Today it has two parts, IN and OFF. IN productions are invited and funded by the government. OFF productions, which were initiated in 1966, can apply and must support themselves.

This year festival will be held from July 5-26. The program has not been announced.

Three year ago in 2010, the Shanghai Drama Arts Center and Border Crossings collaborated for the first time to create "Re-Orientations," which debuted in London's West End.

The production, set in Shanghai, involves a divorced British couple who come together because of their daughter's suicide, a Chinese woman who flees to Shanghai after her husband gives up their daughter, an Indian fisherman whose ambition is to appear on television, and two Swedish actors who arrive in Shanghai to perform but are going through a relationship crisis.

"It is a heady mix of East-meets-West, a spectacular international multimedia stage production, created with artists from China, England, France, India and Sweden," says the British theater director Michael Walling. In 2009, the Shanghai Drama Arts Center invited Italian director Giacomo Ravicchio to adapt the Chinese fairy tale love story "White Snake" into a big production. It combined multi-media, jazz, blues and Chinese traditional music. It was invited to stage at various art festivals, including shows in Denmark, South Korea and Turkey.

Chinese dramatists' journey to the international mainstream stage is difficult. On the cultural stage, most of the best-known Chinese productions are still traditional operas, not original dramas, and they are not commercial productions.

The level and quality of original dramas also has not reached that of the mainstream international stage.

"In Western countries, a drama that can be staged for more than three years is recognized to have its place in the mainstream theater market. It's definitely difficult for original Chinese dramas to knock at the door of Western theater stages," says Zhang, the director of the Modern Theater.

The Modern Theater is now performing British playwright Michael Parker's well-known comic works, including "The Sensuous Senator" in Chinese at the Lyceum Theater and the Xinguang Little Theater in Shanghai.

"We hope to enter the mainstream market in Western countries with help of the playwright," Zhang states.

When it comes to which shows should be staged abroad, both Chen and Zhang agree that they should be experimental, creative and in the vanguard of new theater.

"In my experience, the shows involving physical theater and fewer dialogue will win more attention and acceptance in overseas markets. Of course, another important thing is featuring Chinese traditional elements," Chen says.

In addition to the major problem of language, limited themes also prevent Chinese dramas from making it to international mainstream stages.

"When we emphasize the Chinese traditional elements reflected in a production, it becomes difficult to keep dramatic values close to the international mainstream. In other words, we don't have much international resonance with foreign audiences," Chen adds.

"We need to be confident, but we should be clear about this situation and fact - it will take a very long time to close the gap between our original Chinese works and the international level."