In an evening crammed with clever speeches and entertaining production numbers, 36 prizes were given out at the 25th annual Jessie Richardson Theatre Awards at the Commodore Ballroom June 18. No troupe or production dominated the proceedings, however. Statuettes were distributed almost as equally as Santa's gifts at a company Christmas party.

This followed a series of nominations that often seemed illogical. Neworldtheatre's Adrift on the Nile was nominated for the outstanding production award in the large-theatre stream, but for nothing else. Bard on the Beach's A Midsummer Night's Dream was nominated in the same category, but that show's visionary director, Dean Paul Gibson, was overlooked.

The Jessies don't take themselves too seriously, however. Picking up his prize for outstanding supporting actor for his turn as Bottom in Bard's Dream , Scott Bellis captured the wit that saves the evening from self-importance. "I think it's ironic that I was nominated as a supporting actor," he said, "because anybody who saw my performance knows I wasn't supporting anybody but myself."

In the large-theatre stream, Blackbird Theatre's mounting of Peer Gynt emerged with two prizes: one for John Webber's lighting and one for best production. John Wright, who directed Peer Gynt , was beaten out by Roy Surette and Stephen Drover, who codirected Realwheels Society's Skydive . Skydive , which was Realwheels' inaugural presentation, also earned hardware for Alessandro Juliani and Meg Roe (sound design or original composition) and Sven Johansson, who took home a significant artistic achievement award for his aerial choreography. As well, Drover received the Ray Michal Award for outstanding work by an emerging director.

The Arts Club Theatre matched Realwheels' total of three, topping the polls in the races for supporting actress (Nicola Lipman, Cabaret ), costumes (Rebekka Sorensen, The School for Scandal ), and lead actor (Antony Holland, Tuesdays With Morrie ). Holland quipped: "My advice to everyone is if you spend 70 years in the theatre you may get the part you really want."

Ken MacDonald (set design, Vigil ) accepted the only prize associated with a Playhouse presentation. Lois Anderson's performance in Salome (Leaky Heaven Circus) earned her the best-actress honours in large theatre.

Although different juries choose the nominees and winners in the small-theatre, large-theatre, and theatre-for-young-audiences streams, the egalitarian trend appeared in all areas.

In small theatre, Pacific Theatre's mounting of Grace was chosen as best production, and Angela Konrad bagged a statuette for her direction of that piece. Nicole Bach scored Pacific Theatre's other win for her costume design in A Bright Particular Star .

Wild Excursions Productions' mounting of Beggars Would Ride took two Jessies: Karin Konoval's for lead actress and Patrick Pennefather's for sound design or original composition. For Assembly , Radix Theatre received the innovation award and a special prize for performance by an ensemble (Katy Harris-McLeod, Emelia Symington Fedy, Billy Marchenski, and Andrew Laurenson).

No other company in the small-theatre stream took more than one Jessie. Jonathon Young's work in Ruby Slippers' Trout Stanley garnered him the best-actor trophy; Brian Sutton ( The Maiden's Prayer , Lighted Fools Equity Co-op) won for supporting actor; and Sasa Brown took supporting-actress laurels for Spank! (the Virtual Stage).

Alan Brodie was honoured for his lighting of Diplomacy (Western Theatre Conspiracy), and Glen Charles Landry won for his set design in Apocalypse í  Kamloops (Théí¢tre la Seizií¨me).

The jury chose Jamie Nesbitt, who designed the projections in Rumble Productions' recovery , as outstanding newcomer.

The best-production Jessie in the category of theatre for young audiences, which comes with a $10,000 cheque from the Canada Council, went to Carousel Theatre for its mounting of The Odyssey , but that was Carousel's only win.

Artists associated with productions by Green Thumb Theatre went to the podium three times. Jennifer Paterson was considered the outstanding performer in a TYA show for her work in Speed . Michael P. Northey, Kyprios, and Stylust were recognized for the musical composition that they created for Cranked , which also won Northey a Jessie for best original script.

Axis Theatre Company earned two statuettes, both for The Emperor's New Threads . One went to the acting ensemble (Stefano Giulianetti, Josue Laboucane, and Tanya Podlozniuk). Melody Anderson picked up the other one for her masks, costumes, and set.

Presenters also bestowed a number of special trophies. Bruce Stuart, a volunteer who regularly donates his box-office skills to cash-strapped companies, won the Mary Phillips Prize for behind-the-scenes achievement, and received a sustained standing ovation. Marlie Oden accepted the Georgia Straight Patron of the Arts Award. And David Adams received the John Moffat and Larry Lillo Award for mid-career artists. The Sydney Risk Prize for best script by an emerging playwright went to Tanya Marquardt ( Lounge ). In one of the evening's most moving moments, producer Donna Wong Juliani accepted the career achievement award on behalf of herself and her late husband, director John Juliani.