Performing arts software
for the school that lives from show to show
Tuition on one line, production fees on another, tickets that sell out and waitlist themselves, and an ensemble evaluated from a single grid. Cadence runs the business so the school can run the show.
Last night at your school
Friday sold out and a seat freed at 6:10
The waitlist offer went out with thirty minutes on it, claimed at 6:23
Forty performers, one evaluation grid
Marked in a pass, notes home the same night
The camp form asked about allergies; the fall class didn't
Questions appear only when the enrollment needs them
The vocal coach asked to move Tuesday
The request routed to the director, who owns Tuesday
Tuition, production fees, and ticket money, kept apart
Class tuition is steady, a production fee lands once per show, and ticket revenue is its own animal. Three kinds of money, three clean lines, however many cards a family splits them across.
Tuition split down the middle, the show fee on one card
Most systems attach the money to one household account. Cadence attaches it to each child's enrollment instead, so the adults who pay for her can be billed separately. Each parent gets their own invoice for their own share, pays with their own card, and does not need the other one’s login.
- ✓Tuition divides by the household's percentages
- ✓A production fee can land on one card whole
- ✓Ticket purchases stay separate from tuition entirely
- ✓Each payer opens to their share, nothing else
Declines resolved before the morning warm-up
When a payment fails overnight, Cadence tries the backup card on file. If the other parent has agreed to cover a missed payment, their card is next in line. Everyone is told what happened before the doors open.
- ✓A failed charge becomes a dated line, immediately
- ✓Retries and backups follow consent, not improvisation
- ✓The office reads a settled list at nine
Enrollment climbs toward each production and holds after it; the summer intensive bridges the seasons.
Does the season carry the stage?
Answered on the screen, not rebuilt in a spreadsheet every quarter.
- ✓This month against the same month last year, so seasonality doesn’t fool you
- ✓Show-night families who enrolled a performer, as a rate
- ✓“Email me revenue every Monday at 8 a.m.” and it just shows up
- ✓Ask in plain English: “who dropped after their first month this year?”
The month, cast by cast
Six programs, from first lines to tech crew.
Demo figures, not a real school.
One grid for the ensemble, one form per enrollment
The whole ensemble, marked in one pass
Session's end puts the whole ensemble on one screen: performers down the side, stage skills across the top, and the teacher marks projection, memorization, and ensemble work row by row from the house seats. Notes reach families that night, and next session's track placement reads the grid instead of a hallway conversation.
- ✓One pass covers the whole cast
- ✓Families get notes, not silence
- ✓Placement runs on the record, not the hallway
The camp asks; the fall class doesn't
Summer camp enrollment asks about allergies, a shirt size, and pickup names, because camp needs all three. The fall acting class asks none of it, and the production track asks for measurements only after a kid is cast. Questions belong to the enrollment that needs them, so no form ever pads itself.
- ✓Questions attach to the enrollment, not the school
- ✓Casting triggers its own follow-ups
- ✓Forms stay short because they stay scoped
Ticket money that knows which show it belongs to
Two casts, two Saturdays, one box office in every pocket. Each performance keeps its own capacity, its own count, and its own till.
One family's Friday, four lines
Grandparents drove in, so the Moreau family bought four seats, a program shout-out, flowers at will-call, and the cast shirt. Every line hit the card that bought it, the ticket revenue landed under Friday's show and nowhere else, and the treasurer's April report wrote itself.
- ✓Revenue files under the performance it came from
- ✓Add-ons ride the same checkout as seats
- ✓The season report sorts itself by show
Two casts, two counts, zero confusion
The red cast performs Saturday afternoon and the blue cast Saturday night, and each session carries its own capacity, its own admission count, and its own door list. Nobody oversells the matinee against the evening's room, and the QR at the door knows exactly which show it admits.
- ✓Each performance owns its capacity
- ✓The door QR admits to one show only
- ✓Sold out starts a list instead of a shrug
Rehearsals covered, calendars owned
Three weeks before opening, an absence is an emergency everywhere except the schedule. Coverage carries the blocking notes, and the calendar knows who owns it.
Three weeks out, the rehearsal held
The director went down with the flu twenty days before opening, and the assistant director claimed the coverage offer with the blocking notes riding along: act two, scenes three through five, entrances already mapped. Families were told about the substitute, not asked to reschedule, and opening night stayed exactly where it was.
- ✓Coverage offers carry the rehearsal state
- ✓Families are told who is teaching, and nothing gets rescheduled
- ✓The production calendar holds its dates
The director owns Tuesday; the vocal coach teaches it
The production calendar belongs to the director, and the vocal coach who teaches Tuesday evenings owns her hour and not the week: she marks her roster and messages her performers, but her request to move Tuesday routed to the director instead of just happening. Two jobs, and the schedule can tell them apart.
- ✓The season belongs to the director; the hour belongs to the coach
- ✓Requests route to the owner by design
- ✓Guest staff see their hour, not the season
The whole company, stage door to seat
A parent buys Friday seats, a performer checks her call time, a teacher marks the ensemble grid from the house.
Parents and performers
Rehearsals, tickets, and the bill, together.
- ✓Rehearsal calls and class times, one calendar
- ✓Show tickets bought in the same app as tuition
- ✓Her evaluation notes, the night they post
- ✓Scoped forms answered once, when asked
- ✓Split parents, separate screens, same kid
Marked at call, synced at the office
Teachers and the office
Rosters, grids, and the box office.
- ✓Today's rehearsals with notes attached
- ✓The ensemble grid, marked from the house
- ✓Door scans that know which show they admit
- ✓Calendar keys that know owners from teachers
Preview night by invitation, Friday by the list
Forty invites, thirty-one seats held
Preview night runs on invitations: cast families, the board, and the donors got theirs straight from the event, and every yes held a seat by name. The house manager watched the count settle by Wednesday and printed a door list instead of guessing at folding chairs.
- ✓Invitations live on the event, not a spreadsheet
- ✓A yes holds a named seat
- ✓Regrets release their seats automatically
A seat freed at 6:10; the offer expired at 6:40
Friday sold out Tuesday, and when a family returned two seats at 6:10, the waitlist did the rest: the next family got the offer with a thirty-minute clock on it, because the claim window shrinks as curtain approaches. Claimed at 6:23, paid inside the claim, and the house went out full.
- ✓Freed seats offer themselves in order
- ✓Claim windows shrink as curtain nears
- ✓The house fills without a phone tree
French from the first form to the final bow
The language is set once on the account, and every invoice, note, and ticket receipt keeps to it from then on.
Signed in French, understood in full
Cadence translates its own screens and buttons, but not your waivers and forms. That is why Cadence has a multi-lingual form generator, so you can create your waivers in any language you need, because a parent who signs a document she couldn’t read is a document you may not be able to enforce.
- ✓He signs the French waiver you created, not one a computer produced
- ✓Medical forms and photo permissions work the same way
- ✓Your terms of service stay in English, which is how they stay enforceable
Set at signup, honored all season
The dad who signs her up reads it all in French. The office reads the same account in English. One account, two readers, and every notice arrives in its reader's language.
- ✓Every notice you send arrives in the reader’s language, from one message you wrote once
- ✓Right to left languages are laid out properly, not bolted on
- ✓The account carries its language, so the office answers in it
Cadence has the languages schools actually need. Nineteen and counting at launch.
Show-night families become enrolled families
Every production fills the lobby with cousins and classmates. The note about fall classes goes out while the applause is still fresh.
Tuition mail outranks the unsubscribe
A parent off the newsletter still gets invoices, production deadlines, and pickup changes. Billing rides a separate rail from marketing.
Worth checking: one mute switch over both is how a family misses a production fee.The Monday after closing night
Ticket buyers who are not yet families get one note with fall class times, written once, sent after every run.
Segments come off live rosters
Message every ensemble family, every ticket buyer from the spring show, or every camp parent, no exports.
A first solo is worth a note
A first cast list, a first solo, a fifth production, each can trigger the message the office wrote once.
Ask for reviews after the bows
The link goes out the morning after a show, not beside an invoice.
Fall enrollment opens to the lobby first
When classes open, current families and this season's ticket buyers hear before the public does.
The whole company transfers, cues intact
Your families, enrollments, balances, and history come with you. Do it yourself with our tools, or hand it to us and we’ll do it for you.
Families and performers
Households, splits, and payer setups arrive exactly as they stand.
Fees and balances
A production fee half paid arrives half paid. Credits keep their place.
Classes and rehearsals
Class grids, rehearsal calendars, and owned schedules come over conflict-checked.
History that matters
Evaluations, payment history, and signed waivers land searchable on day one.
Staging before live
The import waits in a staging copy until you read it and call places.
Or hand us the script
Export from the old system, send the file, and the migration team walks it over with you.
Performing arts questions, answered straight
Put your season on the stage
Walk in with the class grid and the production calendar, and the demo performs with your school's numbers in the lead role.