Omaha, Nebraska 1916. Captain Ferguson sits somewhere between the gung ho, half-cocked enthusiasm portrayed in Richard Lester’s satiric film How I Won the War and Colonel Custer’s obtuse determination to lead the 7th Cavalry into a situation of suicidal odds. The obviously patrician leader firmly believes that balloons are “the greatest military invention since gunpowder.” He trains his men with evangelical faith and the confidence that their radioed surveillance will be the determining factor in European victory. By the time extraordinary casualties in Northern France prove him horrifically wrong, higher ranked officers have determined this kind of aerial contribution to be essential-despite the loss.

Observation balloons, used in particular on The Western Front, were ostensibly protected by anti-aircraft. They were also irresistible targets. The Belgian, Willy Coppens, perhaps the most effective “Balloon buster,” is said to have brought down 35, the highest single total in the war. Though servicemen were equipped with parachutes, once a balloon was on fire, chances of escape were slim.

“The unit will accept a man of any religion or creed as long as he is 148 pounds, and is not afraid of heights,” the captain declares. A believable character credibly played, but written so one dimensionally that he fails to elicit our sympathy, he becomes an instrument through which history enfolds rather than a purveyor of drama.

This is a one man show. Three generals to whom the Ferguson answers are projected head-and-shoulder silhouettes with poor accents. Even one other actor playing many roles would’ve served the piece better. When Nelson addresses his unseen men or lieutenant, the drama is more effective.

David Nelson does as much as he can with an undeveloped role. He reacts to others as if they were present, utilizes the radio with complete focus, and “sees” what’s in the air. His Ferguson is appropriately genial, innately pompous and implacably stubborn.

Director, Philip Emeott uses his flesh and blood actor well, but his projected players poorly. Set Design and Construction by Bradleyville Creative Industries—I assume these are the balloon trappings—are, while minimal, quite evocative. Projection Designs by Chris Kateff seem like clip art. Costume Design by Raquel Zarin is spot-on.

Unfortunately a play without a point of view, Isaac Rathbone’s play is interesting, but neither funny, ironic nor tragic, despite an attempt at the third. Ample opportunity to create metaphor for the political machinations of today is disappointingly unaddressed.

Oracle Theater Inc. presents
Captain Ferguson’s School for Balloon Warfare
By Isaac Rathbone
Directed by Philip Emeott
With David Nelson
59E59 Theaters
59 East 59th Street
212-279-4200
Through September 3, 2011