For the production team
You hold the schedule, the script, and the room. This is the reference for all three — what each room does, and the handful of rules worth knowing before you lean on them.
A production is built from assignments. Adding someone to a show gives them a department, a role title, and an access tier. The department is how people get grouped on calls and callboards; the role title is what they’re called in the program and how the script finds their lines.
Departments
Cast, band, crew, production, and the rest. Grouping is what lets you call a whole department at once instead of ticking fifteen boxes.
Role title
For actors this should match the character name in the script. That match is what powers “my lines,” the beat sheet, and mention tagging. If an actor doubles, separate the roles with a slash.
Access tier
Separate from their company role. This is what decides whether someone can run the production — publish calls, edit the script, see the Beat Sheet. Being an owner of the company does not automatically make you a leader on a given show.
A person owns their account, not the company. You can remove someone from a show, but you can never delete the person or their history. That’s deliberate.
Every rehearsal, tech, and performance is an event. Making an event doesn’t call anyone — events start as drafts, visible only to the production team. Nobody in the company sees a draft, and no email goes out. That’s your workspace.
When a week is ready, you publish it. Publishing is the moment the calls become real: the company sees them and gets asked to confirm.
Who's called
Call the whole company, or pick people. You can set a different call time per person — the 6:00 people and the 7:30 people live on the same event, each seeing their own time.
Mandatory calls
A mandatory call auto-confirms everyone and doesn’t accept conflicts. Use it for the calls that genuinely can’t move.
Repeating
Set a weekly repeat and Calltime drafts an event on each chosen weekday through your end date. They’re drafts, so you can shape the whole month and publish it a week at a time.
Calltime is careful about what it sends. Something more than 24 hours out rides the weekly digest instead of firing an email the moment you publish. Changes always push. This is what keeps your company from learning to ignore Calltime.
Your company submits the dates they’re unavailable, and those sit on the availability view alongside your mandatory days and the events you’ve already got. Check it before you build a week, not after.
Once calls are out, each person answers confirm, tentative, or conflict— and a conflict comes with a reason. The Conflicts tab collects every one of them in a single list so you’re not reading twelve cards to find the problem.
The Spine holds the script and everything interpretive layered on it. Import it once and it becomes the thing your whole company reads from.
Versions
A script can carry several versions — an original edition and an acting edition, say. Locking a version freezes it read-only; it never hides it. Making a new version carries the beats forward, so a version bump doesn’t cost you your breakdown.
Beats
Tap a start line, tap an end line, label it. Beats are pinned to actual lines, not line numbers, so they survive a different edition’s margins. Adjacent beats alternate color so you can see where one ends.
Beat Sheet
Your breakdown as a live grid: who’s in each beat, who’s present but silent, when it’s blocked, what’s flagged for a cut. Filter by character to see every beat an actor touches. Leaders only.
Line notes & mentions
Notes attach to a line and can be routed to the actor. Mentions tag the lines where a character is named in the text, which is how an actor finds every place they’re spoken about.
When you schedule a rehearsal, pick the beats it covers. They show on the callboard card and on the Run room’s day view as chips — and tapping one opens that exact spot in the script.
It answers the two questions a rehearsal always raises: what are we working, and who do I need in the room. The Beat Sheet already knows who’s in each beat, so the call almost writes itself.
Run is the stage manager’s room on the day. It opens on today: who’s called, who’s confirmed, who flagged a conflict, and the beats you’re working.
Check-in kiosk
Run it on a device at the door and people check themselves in. Late arrivals surface without you chasing anyone.
Run sheet
Your day-of checklist — preset, pretty, resettable between calls.
Reports
Rehearsal and performance reports: what was called, who was absent or late, what got worked, notes, and the next call.
Weapons log
If the show carries a weapon, custody is signed for each time it changes hands, with a chamber check. Leadership only, and worth the friction.
Booth
The design and production team’s room — costume bible and measurements, cue lists, the tech rider, design questions.
Pit
For musicals: numbers, voice parts, practice tracks, choreography.
Marquee
Headshots and promo. One headshot per person, carried across every show they do with you.
Playbill
Build the program from what’s already in Calltime — cast, bios, sponsors — and print it.
Calltime has more in it than the walkthrough above. This is the rest of the kit, by room — the things most companies never find because nothing points at them.
The other guides
If something looks off, or you just have a question, don’t wrestle with it. Your stage manager is the fastest answer for anything about your production: the schedule, your calls, your contract.
Something wrong with Calltime itself? Email company@checkcalltime.art.
Yes indeed,
The Calltime team