A production is not a date. It is fourteen of them.

Yes. Setting a production up as a run, marking dark days, splitting your spaces into sub-schedules, publishing your season and syncing two ways with Google, Outlook or CalDAV are all free forever, and so is selling: the free plan takes payment for up to 25 paid tickets a month per schedule, with free registration uncapped (a zero-price ticket never counts), and scanning tickets at the door is free on every plan. The Pro plan at $5 a month lifts that ceiling and adds the live check-in dashboard, season passes and custom checkout questions. Event Schedule charges zero platform fees on ticket sales on every plan, the free one included.

Create the production once as a recurring event, choose the days it plays, and give the recurrence an end: either a closing date or a number of performances. A run that closes after fourteen performances stops on its own rather than repeating until somebody remembers to switch it off. Add date exceptions for the nights you are dark.

A matinee is its own event. A recurring event has one start time, so it produces one performance on each day it plays, and a Saturday matinee needs a second event alongside the evening run. It is a little more setup and it keeps the two curtain times, and their tickets, properly separate.

Yes, on the Pro plan. A season pass is tied to the production's recurrence and is valid for every performance of the run, once each, and you can set how many seats it admits per performance. It is sold alongside single tickets rather than instead of them.

Yes, two ways. Named ticket types price parts of the house by the number: create as many as the production needs, each with its own price, quantity and sales window, and a group rate that applies when somebody buys several at once (add-ons are on Pro). On Enterprise you can price the house by its actual seats instead: draw the auditorium once as a seating plan on your venue schedule and give each section a price band. Buyers get the best seats left together or pick their own off the map, and the box office console can pick several seats at once to hold back, book for a caller or release, and move a booking to another seat.

Yes, on every plan. Sub-schedules keep the mainstage, the studio and the family programme apart on one link, so somebody looking for the studio season is not reading through the whole year to find it.

Yes, free on every plan. Announce a production before tickets are ready and each performance page offers "Tell me when tickets go on sale". A visitor leaves an email address, with no account, and hears when tickets go on sale, if the performance is cancelled, and again shortly before it starts, plus any change notice you choose to send. Each date of a run keeps its own list, the event editor shows how many people are waiting, and it is not a subscription to your schedule.

Yes, from the Sales page, on every plan. A Stripe or PayPal sale goes back through the provider, in full or in part, and the sale only changes once the money has moved. A partial refund leaves the ticket valid; a full refund puts the seats back on sale, and on a reserved-seating date the seat returns to the map. A sale taken another way, such as cash at the box office or a payment link, is marked as refunded and you return the money yourself.