We built STUDIO inside our own theatre: a working dinner theatre with a mainstage season, a youth company and an academy. It is selling our tickets tonight.
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Our own box office, mid-sale. Two seats held, the total on the right, and the patron never had to make an account.
Ticketing here, donors there, an email tool, QuickBooks, a spreadsheet for conflicts, a Facebook group for the cast. Renewal season runs on mail merge. Nobody can hand the board one number they trust.
If Theatre Manager closing moved you somewhere you did not choose, start here
STUDIO started as the software our own theatre needed. It runs our mainstage season, our youth company and our academy. Five departments, one system, one record of every person and every dollar.
Works with what you already use: Square, QuickBooks, Mailchimp, Mandrill, Payworks, Plooto, Vimeo and Google Workspace.
See the full feature mapNot mockups. The box office screens are our own, mid-sale. The company screens run on a demo season, so no real cast list ends up on a marketing page.
Three weekends of Little Shop on sale, with a live count on every performance.
Pick a date, pick seats, pay. The live counts do the selling, and when a show sells out the waitlist takes over and alerts people the moment a seat opens. Tickets land in Apple or Google Wallet and scan at the door. Coupon codes, gift cards and ticket transfers are built in, and the box office can take an order over the phone. Group sales, holds and invoicing land this season. Golden Tickets too, if you run something like ours.
Where a season's money actually comes from: subscriptions ahead of single tickets.
Per-patron renewal letters, same-seat holds, installment plans, and a live tracker of renewed against new. Rolling annual auto-renew lands this season. Patrons exchange their own seats inside the rules you set: your timing windows, your member freebies, sorted out without a phone call.
September for Little Shop: every call on one calendar, colour-coded by kind.
The schedule lives on every phone, changes land the moment they're made, and text reminders go out for shows, rehearsals and classes.
A cast member's next rehearsal, song by song, with who is called for each number.
Tonight's running order, with names against every number. Beside it: the schedule, the script, the tracks.
The company, live and editable: roles, billing, contacts, under-17 flags.
Billing, contacts and under-17 flags, editable in place. Nobody chases the volunteer with the real phone list.
We take on ten theatres a year. Applications tell us whether we can do right by yours.
Apply nowPatrons call when they think of it, rarely between ten and two. STUDIO answers in a real voice that knows your season and finishes the job. Every AI draft waits for a human yes; nothing reaches a patron without sign-off.
Never takes a card over the phone: payment goes to the card on file, or a link the patron opens. Anything unusual is written up for a human.
STUDIO's first theatre is ours. Yours will say the same.
"I bought our tickets from my phone in about a minute. No account, no password to forget. When I renewed for next season, our same seats were waiting for us."
R. MoultonSeason subscriber, Kelowna Actors Studio"Reconciling the night used to take my whole evening. Now the day balances itself, and an exchange takes thirty seconds while the patron is still on the phone."
J. RyanAssociate Producer, Kelowna Actors Studio"My cast actually checks the callboard, because the callboard is in their pocket. Music tracks, scenes, calls, all of it beside the schedule."
S. NaimanStage Manager, Kelowna Actors Studio"The rehearsal schedule used to be a week of spreadsheets, texts and phone calls. Now it is just there, on everyone's phone, current."
R. LeslieDirector, Kelowna Actors StudioEvery feature exists because our box office, our stage managers or our bookkeeper needed it. Nothing in it is a guess about how theatres work.
Patrons, students, cast and every dollar in one database. When the board asks for a number, there is one answer, and it matches the bank.
It drafts campaigns, writes first-draft bios and show copy, and answers the phone after hours. Everything waits for a human yes.
Full export any time, guaranteed in the contract. This market has been burned by vendors before.
Not one of these lines is unusual. Together they are the reason nobody can answer a simple question about the season.
| What you pay for today | Typical cost a year | What replaces it |
|---|---|---|
| Ticketing platform fees | $2,000 to $12,000 | Lobby |
| Class and camp registration | $600 to $4,500 | Lobby |
| Email marketing | $700 to $4,200 | Marquee |
| Volunteer and staff scheduling | $300 to $1,200 | Lobby |
| Production comms | $360 to $3,600 | Greenroom |
| Website and embeds | $300 to $2,000 | Included |
| After-hours phone answering | $1,200 to $6,000 | The AI box office line |
One system. One ledger. Seven cancellations. We audit your exact stack as part of your application.
Every platform below sells tickets well. The question is what happens to the rest of your company. Checked against each vendor's published materials, August 2026.
| STUDIO | On The Stage | Ludus | ThunderTix | Spektrix | |
|---|---|---|---|---|---|
| Ticketing, subscriptions and renewals | ✓ | ✓ | ✓ | ✓ | ✓ |
| Class and camp enrollment with rosters | ✓ | basic | |||
| Cast and family app: callboard, tracks, reminders | ✓ | ||||
| Production: casting, scheduling, SM reports | ✓ | ||||
| Budgets, per-show P&L and board reporting | ✓ | ||||
| AI staff: drafted campaigns, after-hours phone | ✓ | ||||
| Money settles in your own payment account | ✓ | ✓ | |||
| No term contracts | ✓ | ✓ | ✓ | ||
| Pricing published on the website | ✓ | ✓ | ✓ |
A blank cell means the vendor does not offer it or does not publish it. Full teardown in your application call.
None of this is upsell. It ships with the company side, and it is usually what people notice a month in.
First-draft cast bios, written for the actor to edit rather than stare at. Playbill night stops being a fortnight of chasing.
Performers log what they have done with you and build a resume with the company over seasons. Your archive becomes theirs too.
Every show gets its own community, and communication that is not right gets flagged to moderators. Parents ask about this before they ask about anything else.
Rehearsal and performance reports written once and sent to the people who need them, with an annotatable script and score alongside.
Every past show and class with its resources, an archival video library, and the prop, costume, set and tech libraries you currently keep in someone's head.
A public Stage Door portal for submissions feeding a casting tracker your panel actually works in.
Every class and camp gets its own space, built for the people actually in it. That includes the parents, which is the part other platforms forget.
Inside each class: the calendar, the FAQ, audition sides and tracks, the full script and guide vocals, the participant and parent list, and the photo album afterwards. Enrollment, payment plans and rosters live on the box office side, so one family record runs from a first summer camp to a closing night ten years later.
The only platform built for theatres that teach.
A flat monthly fee, plus a per-ticket fee at checkout that patrons pay, the way this market already works. Published numbers, no quote games.
The producing company: the box office, the people and the productions.
The whole operation, including the staff you cannot afford to hire.
The ticket fee, on both tiers: $1.00 + 3.9% per ticket, all in, including card processing. About $2.56 on a $40 ticket. Your patrons pay it at checkout and it never appears in your budget.
Comps and cash sales are always free. No caps, no counting.
Onboarding is $3,500, white glove, and we waive it after your first six months.
Your website, three ways: keep the site you have and embed the box office into it, free. Build off it on a branded subdomain, included with Full House. Or have us build the whole site, quoted per project. Anything else you need that none of this covers, we build and it becomes part of your platform.
We do it for you. Full-fidelity import from your current system's exports, verified against your reports before you switch anything off. And the export door swings both ways, contractually: every dollar settles in your own payment account, and full export is yours any time, in writing.
Start with the fee math. Most theatres already spend thousands a year in per-ticket fees and a stack of small subscriptions; it just never appears as one line. The table above shows what a theatre your size usually pays for the pieces we replace. We audit your exact stack as part of your application and give you a board memo you can table.
That is exactly who the checkout was built for. No accounts, no apps, big type, works on the phone in their hand or at the window with your volunteer. Ask us to walk the patron flow first in your demo; most vendors show you the dashboard instead.
Fair. Most all-in-ones are acquisitions duct-taped together. STUDIO was born in one codebase inside one theatre, and it runs that theatre's mainstage season, youth company and academy every day. The proof is the working season in the screenshots above.
No term contracts. Month to month, and you can export everything on your way out. Onboarding is $3,500, white glove, and we waive it once you have been with us six months.