“Where in the world am I?” is the name of the beloved lesson taught by elementary school teachers to help students pinpoint how they fit into their class, their city, their world, by identifying address locations at different scales: street, town, state, country, continent, planet.

BCT’s 25|26 Season of plays is an iteration of this exploration. These thought provoking stories of the human experience span locations (insular communities, remote towns, battlefields, the world stage), span time periods (today, the middle of the 20^th Century, World War I), span divides (two sides of a vaccination debate, a stretch of no man’s land, the space between real and imaginary, the cultural distance from America to Iran). These stories are all examinations of that same question we were asked as kids.

Where in the world are we?

As I write this, in April of 2025, my family is celebrating our seven year anniversary of moving to Boise. For me, the move was a return home. For my wife and children, it was a journey to a new land. For all of us, it was the next step in the natural progression of a life lived in pursuit of all the things that humans pursue: society, friendship, belonging, impact, purpose. In the intervening seven years, our family has expanded exponentially because of our stewardship of BCT.  We start here – in the red seats, in the promise of a blank stage – and radiate outwards into our community, into Boise, into the world. The theater has situated us inside a cohort of curious, committed, aspirational folks who believe in the connection that a live theatrical event creates. The BCT family is not afraid of a challenge, is able to have the hard conversation or laugh with abandon, continues to learn, and knows that the best way to get better is to do it together.

When we look back on the decision to move to Boise, it seems clear that at this very particular, very fraught, very joyous moment in time – this is the place that we belong.

It has been seven years of remarkable challenges: an altered landscape in Idaho, a pandemic, a seismic shift in the way nonprofits are funded and function – the theater’s staff, its board, and its community are responding to these changes with resilience and an unwavering belief in the importance of the work we do here. It has also been seven years of growth, of lasting impact, and of exceptional storytelling.

Where in the world are we?

We are inside the Broadway smash hit Eureka Day (by Jonathan Spector), named after a progressive elementary school in the midst of a vaccination dispute which is both timely and utterly, side-splittingly hilarious. We are back with an add-on to this season in the beautifully bridged divide of All is Calm: The Christmas Truce of 1914 (by Peter Rothstein, Erick Lichte, and Timothy C. Takach). We are in a tiny town that rallies around one of its own to find happiness in unexpected places in the Pulitzer Prize-winning Primary Trust (by Eboni Booth). We are in the heat of Tehran in 1953 for Ajax (by Habib Yazdi), a world premiere production filled with genius comedic turns and undercurrents of tragic historic consequence that was developed as part of BCT’s 4^th Annual BIPOC Playwrights Festival.

Where in the world are we?

The Universe, the Milky Way, Earth, North America, U.S.A., Idaho, Boise, 854 Fulton Street, the BCT MainStage, the Red Seats, the BCT family.

We are right where we belong.