The "great vitality" in writing in the Irish theatre was highlighted at the awards ceremony by one of the judges, Fergus Linehan.
He said that he and the other two judges, Una Carmody and Rose Parkinson, had seen 50 new Irish plays during the year, while assessing productions for the awards. They had travelled to theatres from Belfast to Cork, Galway and Dublin.
"When you look at the four plays that eventually did get nominated I think it's a tribute to the world-class quality of the best of Irish writing."
The directing in plays they had seen was innovative, perceptive and original, Mr Linehan added.
"In the design category of settings, costumes and lightings, again we saw wonderful work, often on modest budgets."
The standard of acting was comparable to that anywhere else in the world and was often carried out by young actors.
"Rose and Una and I worked long and hard to cut down what was a very long list to a shorter list and then to cut that down to the four nominations in each category, which is what the rules demand, and if we have a regret, it is that a lot of very fine work couldn't be represented here tonight," Mr Linehan said.
It had been a bumper year for Irish theatre and this was borne out by the fact that three Irish shows would be running in the West End in London next week. These included Medea, which began in the Abbey; Conor McPherson's Port Authority, which was co-produced by the Gate; and Marie Jones's Stones in his Pockets, which started in the Lyric.
"When you add all that to the plays which are mentioned here tonight, I think the Irish theatre must be doing something right," Mr Linehan said.
Mr Linehan thanked The Irish Times and the ESB for supporting the awards, which had become "the most important and also one of the most enjoyable nights of the theatre year".
On a lighter note, Mr Linehan said there were two things that irritated him about the theatre at present.
One was actors who cried when taking their bows. "I've seen, on more than one occasion, actors with tears streaming down their faces as if overcome by the sheer beauty of their own artistry.
"If crying was acting, my aunt Nelly would be Sarah Bernhardt."
Mr Linehan also said too many standing ovations were now given at the theatre.
"There was a time when, if you were lucky, you'd get a standing ovation once every five years - now you seem to get it almost every second show and sometimes as you sit there grimly while all around you rise to their feet, you wonder what on earth is this for. Is it just because the actors remember their lines?
"I'm all for bums on seats but please, audiences, keep them there in future."
Mr Linehan received a standing ovation from the audience - he asked them to stop as it was going to make him cry.