Produce — production management
The whole production, in one place.
People, auditions, the show, rehearsals, budget, meetings and the timeline — one system that knows how they fit together, instead of nine files that do not.
Produce is part of the free base product. No card required.
Most of the work is keeping nine things in step.
The cast list is in a spreadsheet. The running order is in a document. The call sheet is retyped from both, every week, by somebody doing it after work — and when a rehearsal moves, all three go out of date at once and nobody finds out until the wrong half of the cast arrives.
Produce holds them as one thing, so a change lands everywhere it belongs.
How a show runs on Produce
From the running order to the call sheet.
The point is not that each of these exists. It is that each one feeds the next, so the same fact is never entered twice.
Build the show, once
Enter the production as acts, scenes and beats — a beat being any moment you might rehearse on its own. Tick the characters in each beat as you go, so the structure is useful the moment it exists.
This is the piece everything else draws on. It is the reason Prompter can work out who is needed on a Tuesday without you telling it twice.
Cast it from the auditions you ran here
Open audition sessions, generate time slots, and share one public sign-up link. Auditionees book themselves, get a confirmation, and are reminded automatically the day before — nothing for your team to send.
Move a candidate to Accepted and they are added to your people and linked to their character in the same action. The casting decision and the call sheet are not two separate jobs.
Let the call sheet write itself
Schedule a rehearsal and tick what is being rehearsed. Prompter follows those beats to the characters in them, and those characters to the people cast in them, and calls exactly that set. A character nobody has been cast in yet is flagged rather than silently skipped.
Departments are never automatic. Nothing in a running order implies the band is needed on a given night, so you call them deliberately.
Confirm the plan, then send once
The whole schedule stays a private draft while you are still moving things. Confirming it is what unlocks the move into Production, and moving into Production is what sends the calls — one email per person, listing every rehearsal they are in.
After that, changes are tracked rather than broadcast. Prompter tells you how many people are out of date, shows you exactly what changed, and emails only them.
Watch the money as the season runs
Plan the budget in Planning, then record real spend against it. Budget, actuals and a profit and loss summary sit side by side, and the P&L exports as a PDF for the committee.
Ticket income posts itself from Box Office, so the number your treasurer reads is the number that was actually sold — not last week’s export.
What is in it
Everything a production actually needs.
All of it on the free tier. Nothing on this page is a paid add-on.
People and departments
One record per person across every show your company runs. Cast, Crew, Production, Creative, Technical, Band, Front of House and Marketing, with invitations sent as a magic link — no password to set up.
The show
Acts, scenes and beats, with characters attached at the beat. Beat types cover dialogue, musical, dance, vocal, ensemble and tech moments, so a play and a musical both fit.
Auditions
Sessions, time slots and one public sign-up link. Auditionees change their own booking or withdraw from their confirmation email, so your team is not the diary.
Rehearsals
Schedule, call sheets, attendance, and submitted unavailability — with anyone unavailable on the night flagged against the call sheet before you send it.
Budget
Plan, actuals and profit and loss. The plan locks when the production leaves Planning, so the figure the committee approved stays the figure you are measured against.
Timeline and phases
Planning, Pre-Production, Production and Post-Production, with the gates that matter enforced — a production cannot reach Production on an unconfirmed rehearsal plan.
Meetings
Agendas, minutes and actions, kept with the production they belong to rather than in somebody’s inbox.
Noticeboard
Company announcements that reach everyone on the show, so the group chat stops being the system of record.
Documents
Scripts, scores, plots and paperwork, categorised and linkable to the person they concern — their headshot on their record, the score with the band.
Four phases
A production moves forward, not sideways.
Planning, Pre-Production, Production, Post-Production. The phase is not decoration — it decides what the show can do.
Planning
Build the budget, the show structure and the people. The budget plan is open, and audition sign-ups are set up but not yet accepting entries.
Pre-Production
Auditions go live — the public sign-up link accepts entries only in this phase — and the budget plan locks, so approved figures stop moving while actuals start.
Production
You cannot get here on an unconfirmed rehearsal plan, and arriving is what sends every rehearsal call. Tickets sell in this phase.
Post-Production
Reconcile, report, then close and archive — which frees the active-production slot and its storage for your next show.
Archiving never deletes anything. An archived production stays fully readable and exportable — it just stops being editable, and stops counting against your limits.
Questions.
Do I have to build the call sheet myself?
No. Tick the acts, scenes and beats you are rehearsing and Prompter follows them down to the characters in each beat, then to the person cast in each role, and calls exactly those people. You can still add anyone by hand or call a whole department, and editing the running order never quietly drops someone who is already called.
Will my cast be emailed every time I move something?
No. You build the whole schedule as a draft first, and nothing goes out until you confirm the plan and move the production into Production — then each person gets one email listing all of their calls, not one per rehearsal. After that Prompter only emails the people whose calls have actually changed, so pressing send again never re-spams anyone who is up to date.
Can we use it for a straight play as well as a musical?
Yes. The show is structured as acts, then scenes, then beats — a beat is any moment you might rehearse on its own, which covers a dialogue scene as naturally as a musical number. Beat types include dialogue, musical, dance, vocal, ensemble and tech moments.
What happens when the show is over?
You close and archive it from the timeline. The production becomes read-only for everyone, stays fully readable and exportable, moves to Past Shows on your public website, and gives back the active-production slot and the storage it was using, so a free company can start its next show.
How much of this is free?
All of it. Produce is the whole production-management module on the free tier, with one active production at a time and 1 GB of document storage. Nothing in the list above is held back to make you upgrade.
The rest of the product
It works because the other two are right here.
Presence
A public website for your company that builds itself from your production data — auditions, shows, and news go live automatically as your season moves.
About PresenceBox Office
Sell tickets straight from your site. Sales post to your budget automatically, comps are always free, and every buyer joins your audience for next time.
About Box OfficeStart with your next show.
Produce, Presence and Box Office are one product, and the whole of it is free for as long as you like. You do not need a card to start.