The binder is heavy. And it is usually wrong.
Blocking lives in photocopies, phone photos of the wall chart, and one sacred master copy in the office. Then something changes.
- Row 2 moves DS on count 5
- NEW: row 2 HOLDS, ask Sam
- J enters wing 3
- J enters wing 2 now?? check
- the V is wider since the cut (?)
Three changes behind by Thursday.“Is this the new one or the old one?” asked at the five minute call, again.
One chart, kept current by the people who own it. When it changes, everyone has it in the same second, with their own spot in words.
Built once. Studied by everyone.
Three verbs. That is the whole product.
Build
Drag the cast into every formation on your real ground plan. Spacing numbers, wings, set pieces and props, with the song timeline running underneath.
Publish
Send it to the company in one tap. Versions stay tidy: the Main, the one built for two out, the swing team build. Tonight's is always marked.
Study
Everyone opens their own track and watches the number move. Your spot in words, who is around you, mark it learned when it sticks.
Your track, in your pocket.
Formation by formation, in the plain words a performer actually thinks in. Try it: tap through the number.
Your spot in words
Not a diagram to decode. “You are at 2 OP, second row” reads like a note from your dance captain.
Who is around you
Every step names your neighbours, so the picture in your head matches the one on stage.
Mark as learned
Tick formations off as they stick. Your dance captain can see where the whole company is up to.
Personal numbers
Build your own private numbers for anything you are drilling. Only you can ever see them.
Eight tracks. One brain.
Swings carry more of the show than anyone. Stage Studytreats them like the power users they are: every track side by side, and tonight's cover one tap away.
Three tracks need covers this week. Tap a name.
On tonight follows what your Choreographer publishes, so a swing never has to ask which chart is real.
tracks a swing might be holding at once
formations in a two act musical, give or take
version on tonight, and everyone is looking at it
The people who carry the show.
Resident directors and choreographers
Build the show once and keep it clean through every change, cut and remount.
Dance captains
Run cleanup from the same chart the company studies. No more "which version?".
Swings and covers
Every track you cover, side by side, with tonight's changes already in.
Ensemble
Know your spot cold: on the train, in the wings, half an hour before places.
University programs
Teach blocking the way working companies keep it. Every student studies like a swing.
One price. The whole company.
No seats to count. Everyone on the show is in.
- Every builder and every performer included
- Unlimited numbers, formations and versions
- Billed by invoice. No cards, no seat maths
- Universities: discounted term pricing for programs
Quick answers.
That is the point. Study mode is built for the phone in your pocket: your tracks, playback, your spot in words, in the wings or on the train home.
Whoever runs your show publishes which version is on tonight. Swings and covers see the tracks they are on the moment it changes, and everyone else keeps studying the current chart.
No. Print run sheets whenever you like. The difference is that the master lives in one place, so the paper becomes a copy of the truth instead of the other way around.
Resident directors, resident choreographers, dance captains and stage management build and publish. Everyone else studies, and any performer can build private personal numbers of their own.
One simple price per show per month, whole company included, billed by invoice. University programs get discounted term pricing. Want to see it with your own show first? Ask us for a walkthrough.