Six workbooks about things in your care that are not yours.

Not on the strength of how long they have been there, and not on the strength of anything in a spreadsheet. More than half of US states have a museum property or unclaimed cultural property statute that gives an institution a route to title, and those statutes are genuinely different from one another — different holding periods, different notice contents, different publication methods, different waiting times. Some states have none, in which case a different body of law applies. Our old loan register therefore ships no periods at all: you enter your own state’s, on advice, and if you leave them blank it computes nothing rather than implying you own something.

Because it will not treat a gift as a transfer of title without a signed deed and the name of the person who signed it. Cataloguing is what you did; title is what the donor did. An object can be numbered, insured and on display for thirty years and still belong to somebody else, and the moments that expose it — a deaccession, an insurance claim, an heir, an accreditation review — all arrive without warning. Finding those rows now is uncomfortable and much cheaper than finding them later, particularly while the donor is still reachable and can sign one.

Ask your licensor, and ask before the night rather than after. The general position in theatrical licensing is that a performance in front of an audience is royalty-bearing whether or not admission is charged and however few people attend — free previews, invited dress rehearsals, school matinees and excerpts at a fundraiser are the ones companies forget. Sometimes the answer is that it is included in your licence. That is the licensor’s answer to give, not yours to assume, which is why every performance gets a row in our tracker and not just the ticketed ones.

Generally only with the author’s prior written permission, obtained through your licensor. Cutting or adding lines, softening language for a family audience, changing an orchestration and casting against the gender as written are all changes, and making them without permission can cost you the licence — sometimes mid-run. The practical problem is that these decisions are made in a rehearsal room by people who never read the agreement and are acting in complete good faith, which is why the tracker gives every proposal a row with a name attached.

We will not tell you, and you should be suspicious of any template that does. Front-of-house staffing is set by whoever inspects your room — your fire marshal, your building code, your licence, your insurer — and it depends on the building, the exits, the capacity and sometimes the audience. A number printed by a spreadsheet would be a life-safety judgement about a room it has never seen, and somebody would believe it. Ask the people who inspect your venue, write their answer into the Roles tab, and the coverage grid will hold you to it every night.

Usually not, and the difference matters. Most US states have an artist-consignment statute treating consigned work — and the artist’s share of the proceeds once it sells — as property held in trust for that artist, generally beyond the reach of the gallery’s own creditors. Many of those statutes also expect a written agreement. So a gallery paying its electricity out of an unpaid artist’s sale proceeds has done something different from paying a supplier late. Our tracker leads with the total you are holding rather than with sales, and marks sold-but-unpaid amber even before it is late.

Free, no account, no email gate, no watermark. We build background-check software and sell that separately. None of these six is a screening product — take all six and never speak to us again.

Yes. Upload the .xlsx to Drive and open with Sheets. There are deliberately no array formulas anywhere in the set. The one to open on a laptop rather than a phone is the front of house coverage grid — it is a wide grid by design, because the whole point is seeing every performance and every role at once.