Anthony De Sa (1 March 1915 – 10 July 1969) was an Indian actor, playwright, theatre director, singer, and composer known for his work in Konkani films and tiatr productions.

Despite his early enthusiasm for acting and singing, De Sa faced familial resistance due to their disdain for tiatrs and tiatrists.

The club members collectively decided to stage a tiatr and, recognizing De Sa's superior education and intellectual capabilities, approached him to write the script.

Additionally, De Sa encountered difficulties in obtaining permission from the City Police Commissioner due to concerns about potential disturbances.

Undeterred, De Sa confronted these challenges and successfully convinced the City Police Commissioner to grant special permission.

De Sa, a singer with a distinctive style, appeared before the director in his finest attire, complete with gloves and a hat reminiscent of English actors.

Previously, the prerogative of singing the opening song had belonged to established singers such as Patrick Fireman, Luis Borges, Emidio Sailor, Anthony Vaz, Souza Ferrão, and Dioginho de Mello.

De Sa's higher level of education distinguished him from his fellow singers on stage, enabling him to effortlessly compose and perform English and Konkani songs for the opening act.

Some of his works include Rogtachi Bhett (The Blood Sacrifice), Ghatkem Kumsar, Vingans, Maim ti Maim (Mother is Mother), Soddtam Devache Nitik, Farikponn (Debt), Dotor Fottas, Nirbhag Axechem, Nores Fonddpi, Patok Dubavachem (The Sin of Doubt), Inam Zolmancho, Goemkarancheo Sonvoleom, Nisontton Fuddarachem, Inam Patkacho, Ayah and Lojechem Boglantt (Shameful Calumny).

He has had several of his songs recorded by Gramophone Company India, including "Ankvar Dovortolem", "Irene Mhaka Rabta", and "Kai Borem Tem Mannkulem".

[2] Wilson Mazarello further writes, De Sa initially began his career as a singer in J. P. Souzalin's tiatr, but he ultimately made a significant impact, earning similar levels of popularity, respect, and dedication to the Konkani stage as his director.

While not reaching the same level of acclaim as a writer as J. P. Souzalin, De Sa played a pivotal role in upholding the honor and prestige of the Konkani tiatr during the first half of the 20th century.

Sharon Mazarello further writes, known for his meticulous approach to direction and his pursuit of excellence from his performers, De Sa earned the respect of his peers and collaborators.

Joe Rose, the Vice President of TAG, delivered a vote of thanks and reminisced about his early encounters with De Sa when they both embarked on their tiatr journeys as young individuals.