Akanksha Gade: Prithvi Theatre and Makarand Deshpande sir taught me the importance of silence- Exclusive

From a shy, introverted childhood to finding her voice under the lights of Prithvi Theatre, her journey is deeply rooted in learning, discipline, and an honest approach to performance. Raised in an academically inclined household that valued reading and the arts, Akanksha was introduced early to cultural spaces, poetry recitals, dance performances, and theatre workshops that quietly laid the foundation for her artistic life. Over the years, Akanksha not only performed on stage but also done a few popular TV shows, she was last seen in 'Pinga Ga Pori Pinga'. 'Dear Zindagi', Aamhi Butterfly, 'The Broken News', 'Black Home' are few of her known films and OTT projects. In a quick conversation with ETimes, she shared how entertainment as a field happened to her, love towards the craft and future plans.What first drew you to theatre as a performance medium, and how did your journey with Ansh Theatre Group begin?As I was not a very bright or confident child in school, the factor that attracted me towards theatre was confidence. To stand in front of an audience on stage requires confidence, which comes only after studying or working very hard. My mother is a school teacher, and my father is a retired BMC officer and a lawyer by education. I was born into a good academic background. My parents used to take us to all the cultural events happening in town. So, unintentionally, my journey started from watching theatre activities, poetry recitals, and dance shows, and then attending theatre workshops and performing in society functions.I strongly feel that the introverted and shy side of me got attracted to and ran towards artespecially performing arts like dance and acting—as they became a great medium of expression.In college, I went to watch one-act play rehearsals, and I got a replacement role directly. Pramod Shelar became my first director. My parents made me understand the power of proper learning. So, while acting in college one-act plays, I also joined Bharatanatyam classes under Dr. Gauri Joshi Ponkshe. That was a game changer. As a student and an artist, I started taking performing arts very seriously because of her. What I am today as an actor has a huge contribution from my guru Gauri Tai and Bharatanatyam. Through classical dance training, I learned patience and the importance of practising the same thing again and again sincerely, which helped me tremendously in theatre acting.Classical dance and my guru taught me the most important base the approach towards art, which will always remain with me.I got selected for the youth zonal national competition and met Mrs. Save Sir, the Mumbai University Head of Youth Competitions. I was part of all theatre events acting, dancing, folk orchestra, Hindi skits, Marathi skits, and mime acts. This entire process made me a better artist, improving both my mental and physical stamina.Mrs. Save Sir sent my mime team, along with director Tejas Malap, to a reality show on Zee TV Marathi, ‘Marathi Paul Padate Pudhe’. The judge was Makarand Deshpande Sir. He selected three artists from our group and gave us an opportunity to perform a mime act directed by him at Prithvi Theatre. That is how my theatre journey began. Prithvi Theatre and Mak Sir’s plays deeply impacted all my future working choices. In 2011, I did my first play with Mak Sir, and from then till 2025, every year I have worked on something new under his direction—starting with children’s plays, skit platforms, performances, mime acts, and then proper full-length Marathi and Hindi plays.How did performing on stage at a young age influence your approach to acting compared to later work in film and television?Learning classical dance and attending workshops made me understand the value of practice. Any performance needs a lot of brainstorming and physical practice. Developing skill and craft requires commitment.What aspects of live theatre like rehearsal, audience interaction, and stage presence do you find most rewarding?When I saw the Ansh Festival in 2011–12, I witnessed Mak Sir doing 16 shows of eight different plays in a single week. That felt like a magical experience. Again, I realised that it requires a lot of riyaz, and I wanted to do that. So, I consciously chose to be around experimental theatre and avoided professional theatre.Till today, I am afraid of the stage, and I can say I have stage fear. But I love that feeling of standing in the wings, with my heartbeat skipping just before going on stage. Of course, I love the process of performing under lights, hitting the right cues and marks.While being within boundaries, when I mentally feel liberated, it becomes a spiritual journey for me. Stage performances, whether Bharatanatyam or natak have given me those spiritual experiences.I love the aspect of theatre being live. Every second on stage is different, even though it’s the same play that itself is magical. Especially at Prithvi Theatre, where you are so close to the audience that they can even feel your breath. So you have to be real and honest.Prithvi Theatre and Makarand Deshpande Sir taught me the importance of silence. Appreciation and applause overwhelm me, but so does silence on stage. Meanwhile, I also did some Marathi plays and Hindi experimental plays. One of them was ‘Rishtonka Live Telecast’ by Prasad Khandekar, with Himani Shivpuri and Anjan Shrivastav.But I consciously chose work that allowed me to continue my theatre practice and Bharatanatyam training under Guru Gauri Tai. I never wanted to take a break from either. I adjusted my money-making work around theatre and classical dance.How do you prepare differently for a stage role versus a screen role?Yes, screen and theatre are different mediums, so artists must understand their craft and execution accordingly. However, the base remains the same—honesty, riyaz, brainstorming, and acting with truth.Are there any theatre mentors or directors who significantly shaped your understanding of performance?Yes, gurus are extremely important, for me they are Makarand Deshpande Sir and Dr. Gauri Ponkshe. Whatever is good in me as an artist is because of them.Which theatre plays have had the most profound impact on you, either as an actor or an audience member, and why?‘Sir Sir Sarla’, ‘Karodon Mein Ek’—written and directed by Mak Sir.‘Devbabhali’ by Prajakta Deshmukh. ‘Ranangan’ by Vaman Kendre—which I saw at the age of 14–15. After watching this play, I wanted to be on stage. Because of this play, I decided to become a theatre artist.Also, performances by Bharat Jadhav in ‘Sahi Re Sahi’ and ‘Locha Zala Re’, both directed by Kedar Shinde, deeply impacted me as an actor at a young age. My younger brother Ashish Gade is also a theatre artist. He acted as a child artist in many renowned Marathi plays with well-known artists. His theatre journey also had a very positive impact on me when I was 13–14 years old.Are there any classic or contemporary plays you’d love to perform in the future?To be very frank, I saw ‘Sir Sir Sarla’ 16 years ago and always wanted to be a part of that play. Today, I am performing in its Marathi version. I always wanted to work at Prithvi Theatre, and now I am doing so. I definitely want to work with theatre directors like Prajakta Deshmukh in the future.