Editing Dwybolt
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== Background and Career == | == Background and Career == | ||
Dwybolt began his theatrical career as an apprentice under [[The Great Franda (TOS-BN)|the Great Franda]], whom he describes as "the greatest actor of our times." During his apprenticeship, Dwybolt learned numerous theatrical techniques from Franda, including the art of studying people for character inspiration. Franda taught him that actors could adapt mannerisms and movements from real people, once telling Dwybolt that "he'd taken so many moves from other people he no longer knew whether any gesture was his own."<ref name="STG10">{{cite book|last=Larson|first=Glen A.| | Dwybolt began his theatrical career as an apprentice under [[The Great Franda (TOS-BN)|the Great Franda]], whom he describes as "the greatest actor of our times." During his apprenticeship, Dwybolt learned numerous theatrical techniques from Franda, including the art of studying people for character inspiration. Franda taught him that actors could adapt mannerisms and movements from real people, once telling Dwybolt that "he'd taken so many moves from other people he no longer knew whether any gesture was his own."<ref name="STG10">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=10}}</ref> | ||
Following Franda's mysterious departure from the theater, Dwybolt assumed leadership of the company and continued touring throughout the Fleet. He serves multiple roles within his troupe: writing [[Dwybolt's plays|original plays]], directing performances, acting in leading roles, and handling the business aspects of running the company. He has developed a reputation for both his theatrical skills and his demanding perfectionism as a director. | Following Franda's mysterious departure from the theater, Dwybolt assumed leadership of the company and continued touring throughout the Fleet. He serves multiple roles within his troupe: writing [[Dwybolt's plays|original plays]], directing performances, acting in leading roles, and handling the business aspects of running the company. He has developed a reputation for both his theatrical skills and his demanding perfectionism as a director. | ||
As an actor, Dwybolt is skilled at makeup application, having learned the technique directly from Franda. He also demonstrates the typical actor's habit of constantly observing people for potential character inspiration, wondering how he might adapt their movements and mannerisms for his roles.<ref name="STG10">{{cite book|last=Larson|first=Glen A.| | As an actor, Dwybolt is skilled at makeup application, having learned the technique directly from Franda. He also demonstrates the typical actor's habit of constantly observing people for potential character inspiration, wondering how he might adapt their movements and mannerisms for his roles.<ref name="STG10">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=10}}</ref> | ||
== Theater Company Operations == | == Theater Company Operations == | ||
Dwybolt's theater company travels from ship to ship throughout the Fleet, performing for various audiences of varying sophistication. The company has performed on cattle ships, cargo vessels, and smaller Fleet ships before reaching ''Galactica''. Dwybolt often expresses frustration with less appreciative audiences, once complaining to [[Shalheya (TOS-BN)|Shalheya]] that "we've seen better audiences than this on the cattle ship, Shalheya. And I do mean the cattle themselves."<ref name="STG11">{{cite book|last=Larson|first=Glen A.| | Dwybolt's theater company travels from ship to ship throughout the Fleet, performing for various audiences of varying sophistication. The company has performed on cattle ships, cargo vessels, and smaller Fleet ships before reaching ''Galactica''. Dwybolt often expresses frustration with less appreciative audiences, once complaining to [[Shalheya (TOS-BN)|Shalheya]] that "we've seen better audiences than this on the cattle ship, Shalheya. And I do mean the cattle themselves."<ref name="STG11">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=11}}</ref> | ||
The company's repertoire includes both original works by Dwybolt and adaptations of existing legends and stories. His known works include [[The Scorpion's Final Mission|''The Scorpion's Final Mission'']] and various one-act swashbucklers. Dwybolt takes pride in his writing, though he sometimes struggles with self-doubt about the quality of his work, particularly after difficult performances. | The company's repertoire includes both original works by Dwybolt and adaptations of existing legends and stories. His known works include [[The Scorpion's Final Mission|''The Scorpion's Final Mission'']] and various one-act swashbucklers. Dwybolt takes pride in his writing, though he sometimes struggles with self-doubt about the quality of his work, particularly after difficult performances. | ||
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== Relationship with Cassiopeia == | == Relationship with Cassiopeia == | ||
Dwybolt shares a romantic history with [[Cassiopeia (TOS-BN)|Cassiopeia]], whom he knew on [[Gemon (TOS-BN)|Gemon]] before the [[Cylon attack (TOS-BN)|Cylon attack]]. Their past relationship was significant, with Cassiopeia describing Dwybolt as having been "elegant, talented, and very romantic" during their time together. Their reunion aboard ''Galactica'' is emotional for both parties, with Dwybolt being "flabbergasted" and barely able to speak when he first sees her.<ref name="STG138">{{cite book|last=Larson|first=Glen A.| | Dwybolt shares a romantic history with [[Cassiopeia (TOS-BN)|Cassiopeia]], whom he knew on [[Gemon (TOS-BN)|Gemon]] before the [[Cylon attack (TOS-BN)|Cylon attack]]. Their past relationship was significant, with Cassiopeia describing Dwybolt as having been "elegant, talented, and very romantic" during their time together. Their reunion aboard ''Galactica'' is emotional for both parties, with Dwybolt being "flabbergasted" and barely able to speak when he first sees her.<ref name="STG138">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=138}}</ref> | ||
However, Dwybolt's reaction to learning that Cassiopeia was formerly a [[socialator]] reveals some prejudice, making a tactless comment about socialators on a fleet command ship before quickly apologizing. Despite the awkwardness, both are genuinely happy to see each other alive and well after the destruction of the Colonies. | However, Dwybolt's reaction to learning that Cassiopeia was formerly a [[socialator]] reveals some prejudice, making a tactless comment about socialators on a fleet command ship before quickly apologizing. Despite the awkwardness, both are genuinely happy to see each other alive and well after the destruction of the Colonies. | ||
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== Performance on ''Galactica'' == | == Performance on ''Galactica'' == | ||
Dwybolt's arrival on ''Galactica'' represents what he considers the pinnacle of his career - performing for the command ship of the Fleet. He becomes increasingly nervous and excited about the opportunity, telling Shalheya, "This is the big time, remember? Your chance. You deserve it." When she questions his changed demeanor, he admits, "I'm scared, Shalheya," showing a vulnerability beneath his usual theatrical confidence.<ref name="STG137">{{cite book|last=Larson|first=Glen A.| | Dwybolt's arrival on ''Galactica'' represents what he considers the pinnacle of his career - performing for the command ship of the Fleet. He becomes increasingly nervous and excited about the opportunity, telling Shalheya, "This is the big time, remember? Your chance. You deserve it." When she questions his changed demeanor, he admits, "I'm scared, Shalheya," showing a vulnerability beneath his usual theatrical confidence.<ref name="STG137">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=137}}</ref> | ||
The pressure of performing on ''Galactica'' intensifies Dwybolt's perfectionist tendencies. He becomes more demanding of his company, "shouting orders energetically" to the extent that his actors exchange "secret 'here-he-goes-again' glances at each other." | The pressure of performing on ''Galactica'' intensifies Dwybolt's perfectionist tendencies. He becomes more demanding of his company, "shouting orders energetically" to the extent that his actors exchange "secret 'here-he-goes-again' glances at each other." | ||
Dwybolt agrees to include a [[curtain-raiser (TOS-BN)|curtain-raiser]] written by Cassiopeia and [[Hera (TOS-BN)|Hera]] as part of their performance program. Though initially resistant to including another writer's work, he is swayed by Cassiopeia's request and finds the play to be surprisingly well-written, noting it "has something to say about the role of women in confined society."<ref name="STG140">{{cite book|last=Larson|first=Glen A.| | Dwybolt agrees to include a [[curtain-raiser (TOS-BN)|curtain-raiser]] written by Cassiopeia and [[Hera (TOS-BN)|Hera]] as part of their performance program. Though initially resistant to including another writer's work, he is swayed by Cassiopeia's request and finds the play to be surprisingly well-written, noting it "has something to say about the role of women in confined society."<ref name="STG140">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=140}}</ref> | ||
== Recruitment of New Actors == | == Recruitment of New Actors == | ||
During the company's time preparing for the ''Galactica'' performances, Dwybolt recruits several new members. When approached by [[Baltar (TOS-BN)|Baltar]] and [[Lucifer (TOS-BN)|Lucifer]] (disguised as "[[Trogla]]," a [[Borellian Noman (TOS-BN)|Borellian Noman]]), Dwybolt initially expresses concern about hiring a Noman due to their reputation for violent tempers. However, after Baltar's reassurances and successful auditions, he accepts both into the company.<ref name="STG117-118">{{cite book|last=Larson|first=Glen A.| | During the company's time preparing for the ''Galactica'' performances, Dwybolt recruits several new members. When approached by [[Baltar (TOS-BN)|Baltar]] and [[Lucifer (TOS-BN)|Lucifer]] (disguised as "[[Trogla]]," a [[Borellian Noman (TOS-BN)|Borellian Noman]]), Dwybolt initially expresses concern about hiring a Noman due to their reputation for violent tempers. However, after Baltar's reassurances and successful auditions, he accepts both into the company.<ref name="STG117-118">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|pages=117-118}}</ref> | ||
Dwybolt proves particularly impressed with Lucifer's theatrical abilities, noting his "clear projection, an awesome, attention-getting voice, and a sensitivity to lines which astounded everyone." He envisions Lucifer eventually graduating to important roles and considers him a potential star attraction for the company.<ref name="STG118">{{cite book|last=Larson|first=Glen A.| | Dwybolt proves particularly impressed with Lucifer's theatrical abilities, noting his "clear projection, an awesome, attention-getting voice, and a sensitivity to lines which astounded everyone." He envisions Lucifer eventually graduating to important roles and considers him a potential star attraction for the company.<ref name="STG118">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=118}}</ref> | ||
He also recruits [[Boxey (TOS-BN)|Boxey]] and [[Peri (TOS-BN)|Peri]] as child actors after they are discovered watching rehearsals. Despite their youth and inexperience, Dwybolt recognizes their natural abilities and provides them with roles in the company's productions. | He also recruits [[Boxey (TOS-BN)|Boxey]] and [[Peri (TOS-BN)|Peri]] as child actors after they are discovered watching rehearsals. Despite their youth and inexperience, Dwybolt recognizes their natural abilities and provides them with roles in the company's productions. | ||
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== Discovery of the Great Franda == | == Discovery of the Great Franda == | ||
Dwybolt's most significant emotional moment occurs when he discovers that [[ | Dwybolt's most significant emotional moment occurs when he discovers that [[the old man (TOS-BN)|the old man]] from the [[Devil's Pit (TOS-BN)|Devil's Pit]] is actually his former mentor, the Great Franda. Upon recognizing Franda backstage, Dwybolt becomes overwhelmed with emotion, shouting "Franda! The Great Franda!" and pursuing him when the legendary actor attempts to flee.<ref name="STG173">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=173}}</ref> | ||
When he finally corners Franda, Dwybolt immediately attempts to recruit him back into the company, declaring "I intend to invite you into the troupe. No, I insist. We need your talent." His enthusiasm about performing alongside his former mentor is evident when he tells Shalheya, "Imagine, Shalheya, to be onstage with the Great Franda in one of my very own plays!" The prospect moves Shalheya to tears as she witnesses "Dwybolt's almost adolescent enthusiasm."<ref name="STG218">{{cite book|last=Larson|first=Glen A.| | When he finally corners Franda, Dwybolt immediately attempts to recruit him back into the company, declaring "I intend to invite you into the troupe. No, I insist. We need your talent." His enthusiasm about performing alongside his former mentor is evident when he tells Shalheya, "Imagine, Shalheya, to be onstage with the Great Franda in one of my very own plays!" The prospect moves Shalheya to tears as she witnesses "Dwybolt's almost adolescent enthusiasm."<ref name="STG218">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=218}}</ref> | ||
== Professional Crisis and Resolution == | == Professional Crisis and Resolution == | ||
Dwybolt faces his greatest professional crisis when Franda abandons the company just before their performance, leaving behind only a farewell note. The note praises Dwybolt as "a fine actor" but describes him as merely "a pretty fair playwright," a characterization that particularly stings Dwybolt's artistic pride.<ref name="STG219-220">{{cite book|last=Larson|first=Glen A.| | Dwybolt faces his greatest professional crisis when Franda abandons the company just before their performance, leaving behind only a farewell note. The note praises Dwybolt as "a fine actor" but describes him as merely "a pretty fair playwright," a characterization that particularly stings Dwybolt's artistic pride.<ref name="STG219-220">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|pages=219-220}}</ref> | ||
Initially devastated by Franda's departure, Dwybolt shows his professional resilience by quickly adapting to the crisis. Rather than cancel the performance, he makes the decision to take over Franda's role himself, telling Shalheya to alert his understudy to perform Dwybolt's original part. When Shalheya points out that Franda's role is "only a supporting part, a couple of scenes," Dwybolt responds with dignity, "Doesn't matter. It's the part I want to play this time."<ref name="STG220">{{cite book|last=Larson|first=Glen A.| | Initially devastated by Franda's departure, Dwybolt shows his professional resilience by quickly adapting to the crisis. Rather than cancel the performance, he makes the decision to take over Franda's role himself, telling Shalheya to alert his understudy to perform Dwybolt's original part. When Shalheya points out that Franda's role is "only a supporting part, a couple of scenes," Dwybolt responds with dignity, "Doesn't matter. It's the part I want to play this time."<ref name="STG220">{{cite book|last=Larson|first=Glen A.|last2=Thurston|first2=Robert|title=Surrender the Galactica!|publisher=Ace Books|year=1988|page=220}}</ref> | ||
== References == | == References == | ||