Ashmita Bakshi is all set to explore a new side of her craft with Shiv Shakti: Ek Divya Pranay Katha, marking her debut in commercial theatre. The mythological dance drama features Ashmita in three distinct avatars of Shakti, Sati and Parvati, while choreographer Sandip Soparrkar essays the role of Lord Shiv across all three eras. For Ashmita, the project is not just another acting opportunity but an important milestone in her professional journey.
Talking about her association with the play, Ashmita says, “Shiv Shakti is very important to me because this is my first commercial play. I have done two plays earlier as part of the acting classes where I learned the craft, and those productions were also associated with people from the theatre industry. However, this play is a completely different experience for me.”
What makes the role particularly exciting for her is the opportunity to portray three different facets of the divine feminine. “It is a beautiful role that I have been offered. I play Shakti in the first era, Sati in the second and Parvati in the third. Getting to portray three characters within one play is a wonderful opportunity, and I am very excited about it. Sandip Soparrkar sir plays Shiv in all three eras, and the play has been beautifully written,” she adds.
Interestingly, Ashmita’s journey to the production was quite unexpected. With no prior connection to the director, production house or cast, she believes the opportunity came her way through destiny. “I would say it was destiny because I did not know anyone from the production house, the director or the cast. There is a person named Jameel who owns a dance shoe brand, and my partner and I get our dance shoes made from him. He offered me the play, and he also knows Sandip Soparrkar sir. So, I genuinely feel that destiny brought this opportunity to me,” she says.
Since the production combines mythology with dance, preparing for the role has required considerable physical training. The cast has been learning classical dance forms, including Bharatanatyam and Kathak, while working on the play’s numerous dance sequences. “It is a dance drama with approximately seven to eight dance sequences. We have been training in Bharatanatyam and Kathak for the last 18 to 20 days. We have dedicated classical choreographers who are teaching us the mudras and techniques of these dance forms, and we are practising extensively,” she shares.
Ashmita also credits working with Sandip Soparrkar as a valuable learning experience. Known for his expertise in Latin ballroom dancing, he surprised her with his command over the classical styles required for the production. “As a performer, he is exceptional. We have known him as a Latin ballroom expert for 25 years, but I was genuinely surprised to see him performing Kathak and Bharatanatyam. His homework is bang-on,” she says.
Recalling their first reading session, Ashmita reveals how his preparation motivated her to push herself further. “When we sat down for the reading, his lines were completely prepared, and his Hindi was perfect. Looking at him, I felt that I was lagging behind, so I buckled up from the very next day to match his calibre,” she adds.
