This article presents a summary of a research project conducted in the UK and Taiwan, examining how two groups of primary aged children responded to the same set of drama lessons designed around a traditional Chinese story, The Water Ghost (in Chinese, 水鬼). The authors summarise both the story and their research methodology before outlining the theoretical perspectives that frame a selective analysis of their findings. These relate to literature on globalisation, in particular to ideas of 'glocalisation', the navigation of boundaries and the ethics of cosmopolitanism. The pull between forces of universalisation and localisation is of particular significance in the subsequent analysis, which includes a selection of visual representational material provided by both groups and a critique of the ideas of friendship that were expressed as part of the drama work. Here, although many similarities are noted between the two groups of children, the authors point to some significant differences that they tentatively speculate can be traced to deeply rooted cultural traditions. The article also illustrates drama's capacity to spatialise stories and ideas as a potential methodology to aid cross-cultural research of this kind.It is hardly controversial to propose globalisation as one of the defining concepts of our era. Its key ideas of flow and instability, of compression of time and space, of hybridity and permeability are now regularly applied to theories of contemporary culture and, by extension, to educational practices. 1 Theoretical literature examining the implications of globalisation on drama and theatre education is, however, relatively limited, with Helen Nicholson (2011) being one notable exception. This paper makes a small contribution to this literature by examining the results of a research project with two groups of primary aged children, one from the UK and the other from Taiwan. In both cases, children were taught the same sequence of four drama sessions in their native languages, based on The Water Ghost, a story drawn from the Chinese folk tradition. The article will examine the particular responses of the two groups to this work through theoretical perspectives relating to literature on globalisation. In doing so, we do not set out to present a political argument, although there are ethical implications that we consider, but rather to reflect critically upon evidence of significant contemporary processes in action. In this way we seek to contribute, through close analysis, to an understanding of how these processes can be seen to work. The article also illustrates, we think, drama's capacity to spatialise