The drama Chinese Lesson is staged at the Beijing People's Art Theater. [Photo by Li Yan/Xinhua]

He is commenting on a statement in the report that says the vacancy rate in Chinese theaters is high, and one-third of their income comes from government subsidies.

"We have to draw audiences who have stereotypical notions about stage performances and gradually nurture a market."

In 2013, on a average, one Chinese visited a professional theater about 0.024 times, the report says. Even in Beijing, which shows the country's highest theatergoing interest, it was 0.12 times.

The NCPA has about 850 commercial shows a year, but they also organize more than 1,000 free performances and lectures, which Meng describes as "drip irrigation".

"What is urgently needed for a theater is clear orientation," Meng says, recalling the center's seven-year journey from being a newly established theater to becoming the country's top venue for operas. Adding to its fame is the diverse cultural tastes among Chinese.

The theaters can learn a few things from how Shanghai has made progress in becoming the country's hub for musicals.

"We are more than just a performance venue," says Zhang Jie, manager of Shanghai Cultural Square.

"The theater aims to become an artistic landmark, a performing arts agency, an art education center for the public and an incubator of original theater ideas and productions."

Zhang's theater presents an established musical from the United States or Europe every autumn, popular musical productions in Chinese every summer and reserves springtime for the promotion of original Chinese musicals.

"China's musical industry will ultimately produce successful original plays," says Fei Yuanhong, program director of Shanghai Culture Square.

"The industry won't be sustainable if original Chinese musicals are not developed."

In spite of these promising examples, a problem unveiled in the report is the lack of expertise in operating theaters professionally.

Only 30 percent of all theater staff members in China have an education background in the fine arts, management or stage technology.

Consequently, the industry is probably happy to hope that more national standards emerge. Kang from the Ministry of Culture reveals that a professional certification system for theater managers is also being planned.

"The ministry might appeal for public attention by offering technical guidance first, and then things will naturally go forward with more social efforts," he says.