Ajay Sethi, a renowned theatre educator in Delhi-NCR, smiles as he says, “I am blessed that God gifted me the talent of acting. One’s interest in any art is connected to one’s previous birth.”
His journey, however, began with failure.
“While in school, I practised rigorously for an audition. But when I stepped onto the stage, I froze. I stood dumbstruck. That experience broke me from the inside but also made me determined to pursue theatre.”
That determination bore fruit in 1996 when he was selected for the Theatre in Education (TiE) Company at the National School of Drama’s (NSD) Summer Camp.
“I immediately called my father, who ran a small kiryana shop in New Delhi, to share my happiness at getting my first job,” recalls the man who today helms his own theatre group, Breathing Space Academy, established in 2006 as Founder, Director and Producer. Ajay is also Actor/Anchor of NDTV’s Chhupa Rustam.
The life-changing NSD workshop shaped him as an actor and performer while instilling a lifelong belief that theatre is a powerful educational tool. His career includes a memorable decade with NDTV (2006–2017), where he worked on the satirical political puppet show Gustakhi Maaf and Chhupa Rustam, India’s pioneering hidden-camera candid comedy show.
“Yet I realised that television and films are highly competitive and cannot guarantee success for everyone. That made me dedicate myself to children’s theatre, which allows them to learn by doing rather than merely listening.”
Unlike conventional classrooms, theatre gives children the freedom to express themselves, overcome stage fright, think creatively and work collaboratively. Mixed-age groups prove especially rewarding, with younger children learning through observation while older participants develop leadership, empathy and mentoring skills.
“The benefits extend well beyond the stage,” Ajay explains, “students become articulate, confident communicators, attentive listeners and expressive performers. These skills naturally improve classroom participation, interviews, debates and group discussions. The ultimate goal is not to create actors, but compassionate and responsible individuals communicating effectively in every situation.”
R- NSD’s Rannbhedi: Directed by Ajay Sethi. Actors’ Playground Shenanigans: Boy cheekily plotting a goal against the girls’ team during break time.
Costumes play an important role in this transformation. “The moment children wear a costume, they begin to think, walk, speak and behave like that character.”
His favourite examples come from the Ramayana. Lord Rama’s attire represents truth, humility and duty; Hanuman symbolises courage, devotion, strength and selfless service; Sita reflects patience, resilience and dignity; Lakshman’s convey loyalty and discipline; while Ravana reminds children that intelligence and power lose their value when driven by ego.
Choosing the right production is equally important. “My choice depends on the children’s ages, personalities, confidence levels and group dynamics. I observe them carefully before selecting or creating a script. Rather than fitting children into a play, I fit the play around the children so that every participant has a meaningful, experiential role.”
Every production therefore becomes a journey in character-building, teaching courage, honesty, kindness, teamwork, empathy, responsibility, leadership, creative thinking and effective communication. Every rehearsal builds resilience that stays with children for life.
Looking back, Ajay fondly remembers his early NSD years.
“My theatrical journey began with Unees Bees, directed by Abdul Latif Khatana. During the next decade, I had the privilege of working with distinguished directors including V.K. Sharma, Mushtaq Kak, Late Prem Matiyani, Hema Singh, Hafiz Khan, Maya Rao, Vibha Chhibber, Devendra Raj Ankur and renowned actor Dr Mohan Agashe. Each one contributed uniquely to my growth.”
After leaving NDTV in 2017, he searched for a school that genuinely respected the performing arts. He found that at The Shri Ram School (TSRS), where, nine years later, he continues as a Theatre and Mass Media Teacher.
His expertise is increasingly sought by schools as well as residential communities. For some years, I have watched children perform scenes from the Ramayana and other stories at Central Park-1, Gurugram, where parents respond with overwhelming appreciation.
Ajay treasures such moments, saying in Hindi: “Iss duniya mein agar aapko sachchi tareef aur pyaar mil jaaye, toh aur kya chahiye?” (If one receives genuine appreciation and love in this world, what more could one ask for?)
“Children are completely honest, innocent, curious and enthusiastic. The sparkle in their eyes while performing is magical. Watching them express themselves freely is one of the most rewarding experiences.”
His compassion extends beyond paid assignments. Every year he voluntarily directs a production for Sangeeta Malik’s NGO Nai Disha in Gurugram.
R – Warm-up: The Tenali Rama crew getting into the groove backstage at Central Park-1, right before curtain call.
“Every child cannot afford theatre classes, yet every child deserves the opportunity to experience theatre. Their unconditional love and appreciation are my biggest rewards.” In the same spirit, he will soon conduct a free introductory workshop for the Ubharte Sitare children of Central Park-1’s staff.
His students range from four-year-old preschoolers to college students and adults. “With younger children, learning happens through stories, games, music, movement and imagination. Teenagers enjoy activities requiring critical thinking, teamwork and self-expression, while adults often come to improve communication, confidence, leadership and public speaking.”
Asked why Indian epics occupy such a central place in his productions, Ajay’s answer is deeply personal. “Since childhood I watched Ramayana performances during festivals. Seeing Lord Rama, Sita, Hanuman and Ravana come alive on stage fascinated me and left a lasting impressions.”
Today, he believes these epics offer children much more than memorable performances. “Through rehearsals and discussions, they experience timeless lessons about truth, courage, responsibility, compassion, leadership and making the right choices. They don’t merely understand these values intellectually — they begin to live them.”
Another hallmark of Ajay’s teaching is that theatre is never about simply handing over a script. “It is confidence-building through teamwork. When the team shares a strong bond, the performance automatically becomes more effective. More importantly, every production should leave children with a meaningful message while nurturing responsible and compassionate individuals.”
His productions also feature an unusual innovation — multiple children performing the same lead role. “Every child dreams of playing the hero. If properly trained, any actor can perform any character. By preparing two or three casts for major roles, more children experience the joy and responsibility of playing significant characters.”
Over the years, Ajay has directed productions in both Hindi and English, including Tenali Rama, Alibaba and the Forty Thieves, The Tempest, Andher Nagari Chaupat Raja, Ramayana and Mahabharata. Among his most appreciated productions is The Red Elephant, exploring children’s imagination and the inability of many adults to understand it.
Despite decades of teaching, Ajay believes his greatest lessons continue to come from his students. “They teach me patience, adaptability, positivity and the ability to see the world with curiosity and innocence. Every child is unique. Our responsibility is to create an environment where each one feels valued, confident and free to express themselves.”
His acting style remains deeply rooted in the Theatre in Education tradition, while drawing upon international theatre practices to enrich classroom learning. For him, every theatre educator must first understand the emotional and developmental needs of learners before becoming an effective facilitator.
Although OTT platforms have transformed entertainment, Ajay remains convinced that theatre’s magic is irreplaceable. “The live connection between performers and audiences, the shared emotions and energy, can never be recreated on a screen.”
He nevertheless admits he would happily accept “a meaningful film, web series or any media production” should the right opportunity arise.
He concludes by citing his larger ambition, which remains firmly anchored in theatre. “One of my biggest dreams is to direct a large-scale professional production with young performers from across Delhi-NCR, giving them the opportunity to showcase their talent and experience the joy of creating something truly memorable. Theatre has the power to transform lives, and I hope to continue contributing to that journey for many years.”
Contact: Ajay Sethi
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Amita Sarwal
After practising homoeopathy for 10 years, Amita Sarwal changed her career path. Since 1973 she has been writing on lifestyle, personalities, architecture, interiors and travel. In Singapore, she was an Editor with Editions Didier Millet for pictorial encyclopedias, books and magazines. Her personal milestone continues to be The Spirit of SKV – Chronicle of a Girls’ School, to mark the Golden Jubilee (2006) of her alma mater, Scindia Kanya Vidyalaya, Gwalior. To showcase the exemplary work being done by Changemakers / Unsung Heroes, Amita now focuses on writing about how they are elevating the lives of the socially disadvantaged.