Kees Hulst and Maria Kraakman win Louis d'Or and Theo d'Or at 'prize circus' Gala of Dutch Theatre #tf2010

At the Gala van het Nederlands Theater at the Amsterdam Stadsschouwburg last night, the most important theatre awards were presented. Kees Hulst won the Louis d'Or for the most impressive male leading role, the role of Jörgen Hofmeester in' Tirza' at the Nationale Toneel. Maria Kraakman won the Theo d'Or for the most impressive female supporting role, Orlando in Toneelgroep Oostpool's production of the same name. The play 'Oog om Oog', with Linda van Dyck and Victor Löw, among others, won the AVRO Toneel Publieksprijs.

Maria Kraakman is handed the award by none other than the 'grande dame' of Dutch theatre, Ellen Vogel. Kraakman beams and continues to beam. 'It still doesn't really get through to me,' she says afterwards. 'I am very proud to have received the Orlando prize. Once in a while you coincide with your role, which was the case now. It took no effort at all for me to play. I got to put my own imagination to work. That was a treat. I like to invent my characters myself.'

Victor Löw and Kees Hulst also feel very honoured. At the same time, they are somewhat ambivalent about the big 'prize circus'. Hulst: 'The more people care, the more important it is. I don't work to win prizes. This business is far removed from the essence of making theatre. Of course, it is important for the theatre world to be taken seriously, though. We are not a hobby club. That's why I think this evening is a good initiative. But it says nothing to me that I got this award specifically for this role. I play every role at the top of my ability.'

Löw fully agrees: 'Everything you do is equally important. An award like this says, 'This is it'. But then the rest isn't it, then? Every actor has his own bar in his head. You have to stick to that. Winning looks good on your CV, it's convenient and the public loves it. That's why this award ceremony is important. Besides, winning is of course just good for your ego. As an insecure actor with assertiveness - we all suffer from that - it is a nice confirmation.'

Earlier that evening, all the nominees stride down the red carpet in beautiful evening attire, to their seats at the front of the hall. The nerves are palpable and the atmosphere is somewhat solemn. Until hostess Clairy Polak enters the stage with the words: 'Standing here in front of you like this, I am bloody nervous.' A big applause follows. 'I don't understand at all why that deserves applause.'

Susanne Kennedy kicks off the evening by receiving the Erik Vos Prize for exceptional talent among the new crop of theatre-makers. 'I met Erik Vos once, when I was rehearsing in the same building as him. He asked me if there were any soup bowls. He thought I was the canteen lady.' Following Kennedy is the winner of the Arlecchino, Stefan de Walle. He wins this award for the most impressive male contributing role for his role of Lopachin in The Cherry Garden at the National Theatre. The Colombina, prize for the most impressive female contributing role, goes to Nanette Edens for her role in Amora at the Zuidelijk Toneel. The first extended speech comes from theatre collective Wunderbaum, which wins the Proscenium award. According to the jury, these young theatre-makers have made a substantial contribution to the theatre climate with their daring, boldness and talent. 'The surprise is complete for us, yet we have prepared something.' The collective appears to be in favour of non-hierarchical forms of collaboration and against a proliferation of MBO theatre schools, and suggests putting less money into healthcare and more into theatre. 'You're going to die anyway.'

Gala of Dutch Theatre. Stadsschouwburg Amsterdam, Sunday 12 September.

For all prizes and winners, please visit www.tf.nl.