Dwybolt's plays

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Dwybolt's plays represent the theatrical repertoire of the traveling theater company operating within the Fleet. The collection includes both original works written by Dwybolt and adaptations of legendary tales from the Twelve Worlds.

Original Plays

The Curse of the Sagitaran Ruby

Dwybolt's adaptation of a legend, The Curse of the Sagitaran Ruby serves as one of the troupe's signature productions. The play is described as a "long and complexly plotted drama" featuring sword fights, romance, and supernatural elements centered around the titular cursed ruby.

The drama features the heroic character Fleet (played by Dwybolt) in a climactic sword battle against the villain Clumb, with the love interest Myray (played by Shalheya) caught between them. The plot involves Fleet's past conflicts with antagonist characters including Drunstan, who is described as having "his big red nose" and living in the fictional location of Domainia. During the confrontation, Fleet reveals to Clumb that Drunstan "no longer breathes the pleasant air of Domainia," indicating Fleet has killed him, which motivates Clumb's desire for vengeance to "fulfill my family pledge by killing you, Fleet." The play concludes with Fleet defeating Clumb and declaring that all must "forget... THE CURSE OF THE SAGITARAN RUBY!" in dramatic fashion. Despite its melodramatic nature, Dwybolt considers it "among my lesser works."

The Killing of the Cylon Master

Another of Dwybolt's works performed by the company. Captain Ironhand describes it as "one of my favorites" and mentions seeing it performed when the troupe was docked at the Piscean capital, during the time when the Great Franda was still with the company.

The Scorpion's Final Mission

A play mentioned by Dwybolt when observing Captain Ironhand's movements, wondering if he could adapt the captain's physical mannerisms for the character of Dyreem in this production. This suggests the play features a substantial role that Dwybolt was considering or had played.

The Daggit's Tragedy

Referenced by Shalheya when commenting on Dwybolt's dejected appearance after a poor performance, telling him "You look like the last act of The Daggit's Tragedy." This suggests it is a particularly tragic or emotionally heavy work in the company's repertoire.

The Reluctant Hero of the Space Service

One of Dwybolt's favorite roles, this play was particularly significant in his past relationship with Cassiopeia. She attended all performances of the production, and after one performance showered him with Gemonese mountain flowers in the socialator custom of honoring great achievement. Dwybolt considers this romantic gesture one of the most meaningful moments of his career.

The Scorpion Watchtower trilogy

A trilogy of plays featuring villainous roles for Shalheya. She references her performance style from "the last act of the Scorpion Watchtower trilogy" when displaying theatrical villainy during personal conversations with Dwybolt. This suggests the trilogy features substantial antagonist roles and dramatic moments.

The End of Time

A play that the troupe had never performed before their time aboard Galactica. When Baltar (disguised as "Korriman") asks about their next production, Lucifer (as "Trogla") responds that they will perform "The End of Time." Baltar finds the title particularly apt for his own destructive plans.

Adaptations and Collaborations

Legend-Based Productions

Dwybolt creates plays "based on a popular twelve-world legend, a complicated one involving violent action, disguises, identity switches, and several supernatural apparitions." These adaptations are specifically chosen to appeal to "work-weary battlestar audiences" and feature complex plots with multiple dramatic elements.

Hera's Play

When approached by Hera and Cassiopeia to perform a play written by Hera that satirizes Starbuck, Dwybolt initially resists, stating he is "not in the practice of inserting other writer's plays into my own." However, he eventually agrees to read the manuscript and, impressed by its quality, agrees to perform it as a "curtain-raiser" rather than incorporating it into one of his main productions. The play deals with "the role of women in confined society" and features sharp satirical dialogue aimed at deflating masculine arrogance.

Theatrical Themes and Style

Dwybolt's works typically feature heroic characters, romantic elements, sword fights, and supernatural themes drawn from Colonial mythology and legend. His plays often include comic relief through "earthy moments" and character interactions. The playwright demonstrates a preference for complex, multi-act dramas with intricate plotting, though he acknowledges criticism from some audiences and his own assessment that certain works are "lesser" efforts.

Despite suggestions from colleagues like Shalheya that he "should write comedies," Dwybolt continues to focus on dramatic works, believing that maintaining artistic integrity is more important than simply pleasing audiences. His comment that he writes comedies would mean "everybody says that" suggests he faces constant pressure to lighten his theatrical approach.