ACCREDITATION

Now that the Pretentious Festival is over, it's finally safe to say that the Pretentious Festival is not over. There are a series of extensions, which you can read about at http://bricktheater.com/pretentious, as well as future entries of this very blog. Meanwhile, it is my duty (and a solemn one at that) to record the winners of Sunday night's Pretentious Awards. The ceremony, hosted with an astounding air of sheer hatred by the one and only (and let's keep it that way) Jeff Lewonczyk (with the surly assistance of Miss Audrey Crabtree), lasted a mere four and a half hours, with acceptance speeches ranging in length from a mere nod (Most Obstreperous Silence) to a full production of Shakespeare's Julius Caesar (Master of the Bard). In such an open field, every win was an upset, so read on to become upset yourself!

MOST UNDERSTOOD (a citation of failure): Matthew Freeman, Interview With the Author

MOST MISUNDERSTOOD: Ian W. Hill’s Hamlet

LEAST UNDERSTOOD: The Mercury Menifesto

LEAST MISUNDERSTOOD (a citation of failure): Compression of a Casualty/Fox(y) Friends

KEENEST CONTEMPT FOR THE AUDIENCE: Rockberry, The Last One-Man Show, or The Infinity Within

MOST POPULAR PENIS: Robert Honeywell, Every Play Ever Written

THE FIRST ANNUAL DANNY BOWES LIFETIME ACHIEVEMENT AWARD OF UNCONVENTIONALLY PROFOUND THEATRE: Danny Bowes, This Is the New American Theatre

BEST-DRESSED NON-PARTICIPANT: Mikki Baloy

MOST ALCOHOLIC: Art Wallace, Between the Legs of God

IRRADIANT PROWESS: Amanda Woodward, Lighting Designer, many shows

MOST OBSTREPEROUS SILENCE: Nothing

MOST: The Children of Truffaut

HOTTEST, SEXIEST STAGE MANAGER FROM TUNISIA: Rasha Zamamiri, Every Play Ever Written

MOST NOMINATED ACTOR: Gyda Arber, Ian W. Hill’s Hamlet, Between the Legs of God

BEST USE OF COGNITIVE DISSONANCE: Commedia Dell’Artemisia

BEST USE OF “BUFFY THE VAMPIRE SLAYER”: Yudkowski Returns!

THE "OPPOSITE OF THEATRE" AWARD (for Avoiding Participation in All Pretentious Festival Shows): Alexis Sottile (accepted in the name of Theaters Against Theater)

MOST ORGANIC BLEND OF BRECHTIAN ACTING AND MEISNER TECHNIQUE: Scott Eckert, The Children of Truffaut

DENSEST LANGUAGE BASED ON THE FORMULA OF A PICTURE BEING WORTH A THOUSAND WORDS: Macbeth Without Words

BEST FOREIGN-LANGUAGE PRODUCTION: Three Angels Dancing on a Needle

MASTER OF THE BARD: Aaron Baker, Bryan Enk, Stacia French, Ian W. Hill’s Hamlet and Macbeth Without Words

KEENEST DISAPPOINTMENT: Lynn Berg, Audrey Crabtree, Moira Stone, Every Play Ever Written