For stage managers, sound and lighting operators
Mark up your script.
Call your show from it.
Open the script as a PDF, drop every cue on the word it fires on, and the cue sheet writes itself. Then call the show from the same book — one line at a time, with the next cue on deck — on a laptop, in a booth, with no connection at all.
macOS and Windows · two machines on one licence · works offline · nothing uploaded, ever
(A tempestuous noise of thunder and lightning heard.) LX 12
BOATSWAIN
Heigh, my hearts! cheerly, cheerly, my hearts!
Take in the topsail. Blow, till thou burst thy wind! SND 4
GONZALO
Nay, good, be patient. AV 2
Cue list
Who it is for
Anyone who has a book to keep
Stage managers
The prompt book, marked up on screen instead of in pencil, and called from the same page — with the standbys placed for you, counted back in lines.
Sound operators
A cast list that knows who is on which mic, the performer's name written beside their lines, and a clean text copy of the script with your cue numbers against the words.
Lighting and the rest
Your own cues, your own numbering, your own book. Export a marked-up PDF that carries only your department, or print it for the desk.
Schools, am-dram and small venues
One licence, two machines, a year. A photocopied script works. Nobody has to learn a cueing console to run a nativity properly.
What it does
Built for the person calling it
Not a PDF reader with notes bolted on. Every part of it is shaped around one job: getting a show called cleanly, by someone who has to look up at the stage.
Cues where they fire
Select the word and drop the cue on it. Numbering follows on its own, per department, and renumbers when the director cuts a page. Point cues — 12.5 between 12 and 13 — the way a tech rehearsal makes them.
Standbys that count back
Say how many lines of warning you want and Cuemark places the standby, even when it lands on the page before.
A book for each department
LX, sound, flys, automation, follow spots, stage management — or types you name yourself. Print or export a PDF carrying only that department's cues.
The cast, read off the script
Cuemark reads the parts out of the script and offers them; you tick the real ones. Put a performer's name and mic channel against each, and the name appears beside their lines on the page.
Scanned scripts too
A photocopied rehearsal script is read on your own machine — never uploaded — so search, the cast and the cue list all work on it. Or turn it into a clean typed copy.
The sound script
A clean text copy of the dialogue with each speaker's fader beside their name and your cue numbers against the words they fire on. Export it, or work from it directly.
Pages that behave
Keep the cast list and the blank pages out of the book, tell it what the printed page numbers are, and the cue list says "p. 23" the way the director does.
Notes and highlights
Mark a line in a colour, hang a note on it. They print with the book and stay out of the cue list.
Scanned scripts
A photocopy becomes a script
Most rehearsal copies are scans: grey, a little crooked, and not a word in them a computer can find. Cuemark reads the page on your own machine — nothing is uploaded — so search, the cast list and the cue list work on it. Then, if you want it, a clean copy: the same words, black on white, square, still yours to mark up.
DOCTOR
You see, her eyes are open.
GENTLEWOMAN
Ay, but their sense is shut.
LADY MACBETH
Out, damned spot! out, I say! One: two: why, then, 'tis time to do't. Hell is murky!
Reading the page
Show mode
Call the show from it
One line at a time, with the next cue on deck and the standby counting back. Press space, a pedal, or let your desk take the cue; the arrow keys move the script so your eyes stay on the stage. Took one early? One key puts it back.
Heigh, my hearts! cheerly, cheerly, my hearts!
Take in the topsail. Tend to the master's whistle.
(A cry within.)
What, must our mouths be cold?
The king and prince at prayers! let's assist them.
(A confused noise within: "We split, we split!")
Taken
A line across the page
The band between the arrows is where the show is. Whatever has scrolled past it has gone; the first cue still below it is the one on deck. Scroll, and the deck follows — or tell it not to.
The run, timed
Top of show, interval, back, curtain. Every cue is logged with the time it was taken, so the report at the end is the one the producer wanted and nobody had to write.
A show night
From the half to the curtain
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Before the half
Open the show. Everything is where you left it — cues, standbys, the cast, the notes — because it is a file on your disk, not a session on somebody's server. Hit Find if you have lost your place.
-
Top of show
Show mode. The toolbar goes, the page dims to what the booth wants, and the first cue is on deck. Press Top of show and the clock starts.
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Mid act
Space takes the cue. The next one slides onto the line. A standby appears three lines early because that is what you asked for. A pedal or QLab can take it for you.
-
After
Curtain. The report has the running time, the interval, and every cue with the moment it went — ready to send on.
Triggers
It does not have to be the thing you touch
A pedal, QLab, a lighting desk, a Stream Deck through Bitfocus Companion. Cuemark takes OSC and MIDI, and sends its state back out, so the script follows the show rather than the other way round.
The booth
It knows where it is
A red booth theme for working under a red lamp, a dimmer that goes darker than your screen wants to, and type that stays readable at arm's length.
Pricing
One price. No tiers, no seats to count.
£49
a year · two machines · macOS and Windows
- A licence for a year from the day you buy it
- Two machines — a laptop and the booth, say — moved between them whenever you like
- macOS and Windows, the same licence
- Works offline, in a booth with no wifi
- Every update to this version
- Nothing is taken from your card again. Renew by buying another year — your shows stay where they are
The free version is the whole app on the two scripts it comes with, for as long as you like. No key, no account, no clock. A licence is what opens your own scripts.
Questions
The ones people ask
My script is a photocopy. Does that work?
Yes. Cuemark reads scanned pages on your own machine — the script never leaves it — so search, the cast list and the cue list work on it. It also makes a clean typed copy if you prefer to work from that.
Does it need the internet?
Once, to activate the licence. After that, none. The app makes no network calls while you work, and it does not need a connection to call a show.
Mac or Windows?
Both, on one licence. Your show files open on either.
I want it on my laptop and the booth machine.
That is what the two machines are for. Deactivate one from your account page or inside the app and its place is free immediately.
Where do my shows live?
In a file beside your script, on your disk. Back it up the way you back anything up. There is no cloud and nothing to export from.
Can it take the cue from my desk or QLab?
Yes — OSC and MIDI in, and it reports its state back out. A pedal through MIDI, QLab through OSC, a Stream Deck through Bitfocus Companion.
What happens when the year is up?
The date is on the licence screen and in Settings, and it keeps working to the day. Nothing is charged automatically; buy another year when you want one. Your shows are files and stay exactly as they are.
Something is wrong.
Email support@cuemark.co.uk. A person reads it.
Your work, your disk
Nothing leaves your machine
No account inside the app, no cloud, no telemetry. Your script is a file on your disk and it stays there — the app makes no network calls at all once it is licensed. Scripts are confidential and rehearsal copies are licensed material; that is not a setting, it is how it is built.