The whole production, in one place.
Script, cues, blocking, cast, calendar and the paperwork — one app for everyone on the show. All of it keeps working with the Wi‑Fi off.
Free while we're in beta. Nothing to install. The demo is a real production, already three weeks into rehearsal.
Your marks survive the next draft.
When the theater sends a revised PDF, the cues, cuts, line edits and scene breaks re-anchor themselves onto it by matching the text around them. Nobody re-annotates from scratch.
It reads the script, so you don't retype it
Scenes and characters come out of the PDF's own text. Scene navigation, French scene breakdowns, the character-by-scene matrix and audition sides are generated from that — not from a spreadsheet somebody has to keep current.
Mark it once, print it perfectly
A cue's position is a fraction of the page, independent of zoom, and it lands in true PDF coordinates on export. The calling script you hand out looks exactly like the one you marked.
Cuts and line edits, not just ink
Select a line to cut it and right-click to bring it back. The script is treated as an editable document, so the Book knows what is in the show and what is not.
Cue marks belong to the words
A cue is anchored to the line that triggers it, with standbys carried along the margin. It is a prompt book, not a picture of one.
Half hour. Concrete basement. No signal.
The device holds the working copy. The script, the cues, the blocking and the calendar all work from first launch with zero connectivity. Only the parts that are obviously connected — email, chat, inviting the company — wait for a signal. And sync, when there is a network, is per item, so two people editing different cues never clobber each other.
Everything the production knows, in one loop.
A rehearsal knows its scenes; the scenes know their characters; the characters know their actors; the actors know their conflicts. One data model instead of seven documents that quietly disagree.
Cue lists, per department
One click from the moment in the script. One export from the paperwork.
A calendar that knows the script
Eleven of seventeen scenes have a rehearsal. Nobody typed that.
Blocked, worked, run
Where every scene stands, and the day it got there.
Audition day
The run order is the screen. Paper forms scan into the same list.
The whole company, one list
Contacts, roles and conflicts — and the email templates that use them.
Drag to see more
Everyone sees the show. Only the right people can change it.
Owner, production, designer and actor. Four roles, enforced by the database rather than by hidden buttons — and personal things, like your email account, never sync to anybody else's device.
And three things it isn't.
It doesn't fire your cues. Playback is QLab's job, and a different operator's. We call cues; we don't run sound and light.
It isn't a drafting program. Blocking notation is schematic on purpose — precision groundplans belong in Vectorworks.
It isn't finished. It's in beta, it's free while it is, and dedicated prompt-book apps still beat us on a handful of conventions we're working through.
Open the demo. It's a real show.
Free while we're in beta — the whole company, not per seat. The demo needs no account, and the show data you touch there stays in your browser.