Can you sell tickets to an open rehearsal?

You have a rehearsal booked, the musicians will be there, and people keep asking how the show comes together. Could you let them watch and charge for it? Yes, if the artists agree, the necessary permissions are in place, and you can describe an experience worth buying without promising a finished performance.

The appeal is watching decisions happen. A passage sounds different after a suggestion. Players disagree, try another approach, and listen again. Someone who has only heard the final concert gets to understand what changed and why. That's a good reason to buy a ticket, provided the audience can follow the work and their presence doesn't prevent it.

Start with the artistic team. Choose a rehearsal they genuinely want to open, agree the audience's access and the work you'll protect, then cost the public session properly. A room that is already hired still needs people to admit visitors, explain the process, handle questions and close the event. Those jobs can turn apparently easy extra income into an expensive interruption.

We'll work through a fictional string-quartet rehearsal to make the decisions concrete. Its prices, quantities, timings and costs are invented planning assumptions in USD, not recommended rates or a report of an actual event. The same questions apply to other creative work, but theatre, dance and other formats need their own artistic, contractual and rights checks.

Choose a rehearsal people can understand

Ask the musicians what they expect to work on and whether an observer could follow it. A rehearsal devoted to balancing an exchange between instruments might reveal something a curious listener can hear. A session spent resolving a private personnel issue or troubleshooting equipment is a poor public offer, however necessary that work is to the production.

You don't need constant entertainment. You do need a reason for the audience to stay interested when the music stops. That might be hearing how the players shape the same phrase differently, seeing who proposes a change, or understanding how an ensemble agrees its interpretation. Decide what the visitor should understand by the end, while accepting that the actual rehearsal may develop differently.

There are established examples of describing this honestly. The Baltimore Symphony Orchestra's open-rehearsal guidance tells visitors that music may stop and restart, works may be incomplete, and some pieces may not be rehearsed at all. It also makes the working purpose clear. Those are useful expectations to explain in your own terms, rather than treating every interruption as something to apologise for.

The important choice is how much explanation to add. Experienced musicians may enjoy observing with very little help. Curious first-time listeners may need an introduction and an occasional explanation of what changed. Pick the intended audience with the artists. An event advertised as accessible to newcomers needs more than a specialist watching silently and assuming everyone else understands.

For our fictional Harbour Quartet Sessions, the offer is an introduced morning for adults curious about ensemble playing. Visitors observe the quartet working on selected passages, with a host explaining the agreed context and collecting questions. There is no audience participation in the playing and no promise of a complete work. The experience stands on its own; a ticket to a later concert is not required or included.

A backstage visit would be a different product. That could explain the room, instruments or production arrangements without observing the rehearsal itself. If the artists want to keep the work private, consider a separately approved bookable backstage tour. Choose the experience the team can deliver willingly rather than selling rehearsal access and substituting a building visit after people arrive.

Agree what the artists are being asked to do

Speak to someone authorised to agree the engagement, and confirm how the individual performers' agreement will be obtained. Owning the venue or paying for rehearsal time doesn't by itself settle whether that work can become a public event. Explain the proposed audience, price, duration, publicity, recording policy and host's role before anyone is asked to accept.

Be specific about additional work. Will a player introduce the music? Is a question session included? Do they need to prepare examples, attend an earlier briefing or remain after the rehearsal? Those duties take time and may change the nature of the booking. Ask for the complete fee and working arrangements, including applicable agreements, breaks, expenses and minimum calls.

The UK's Independent Society of Musicians includes rehearsal times, facilities, fees, expenses, licensing, publicity and cancellation in its performance-contract guidance. Use that as a prompt for the questions your engagement needs to settle. The actual agreement must fit your location, performers and activity; a standard document doesn't decide whether a particular public rehearsal is permitted under an existing contract.

Discuss which work stays private. The quartet might be comfortable exploring phrasing in public but want time alone to resolve a difficult disagreement. Give them an agreed private period before or after the public session. Don't sell access to the whole call when the working plan depends on clearing the room halfway through without warning.

Also agree what the host can say about the musicians' decisions. A change of tempo isn't necessarily a correction of a mistake. A discussion may have several reasonable outcomes. The host should help visitors understand the question being explored, without turning the players into examples of failure or inventing a personal story about their working relationship.

Write down who can pause the public element and what follows. A performer may need to discuss something privately, an instrument may become unusable, or the venue may need an interruption. Artistic control and customer responsibility both matter. Agree who speaks to the audience, what can still be delivered, and when the producer must consider a remedy instead of asking the artists to continue against their judgment.

Have the musicians approve the event description and publicity materials before launch. In particular, check named personnel, repertoire, photographs, claims about access and any promised interaction. Approval of one poster shouldn't become permission for an unplanned filming session or an invitation for buyers to meet the musicians afterwards. Keep the final approved version available to whoever handles promotion.

Check permissions for public attendance and the material used

Calling something a rehearsal doesn't settle its legal treatment. The relevant questions include who attends, whether there is a charge, what is performed, where it happens and which rights or permissions already cover it. Give the actual proposal to the venue, rights holders and appropriate local advisers before opening sales. An assumption based on the private rehearsal could be wrong for the paid event.

For example, the Home Office's September 2026 licensing guidance for England and Wales describes an exemption involving rehearsals for a private audience where no charge is made with a view to profit. A commercially ticketed public session shouldn't assume it meets that description. Other exemptions may apply, so check the circumstances with the licensing authority rather than treating admission charges as an automatic answer either way.

Keep entertainment authorisation separate from permission to use music. The UK government's live and recorded music licensing guidance explains that public music use usually requires a licence and directs businesses to check the use concerned. Ask who is responsible, what the venue's existing cover includes and whether your specific session needs additional permission or reporting. Use the relevant organisations and rules in your own country.

Check the actual material too. Rights in a composition, an arrangement, a script, printed extracts and a recording can involve different permissions. A work's age doesn't prove that the particular edition or arrangement you're using is unrestricted. If visitors will receive a handout, clear its content rather than photocopying the performers' scores because only a small audience is expected.

New work needs an explicit conversation. The composer or commissioning partner may want to protect an unpublished passage, delay discussion of the piece or limit what can be shared publicly. Agree whether the title and excerpts can be advertised and whether audience members may take notes. The operator should know which material remains available if a proposed work cannot be opened to visitors.

Record each answer in a permissions list with the responsible person, permitted use, restrictions, cost and evidence of confirmation. Include reporting or payment deadlines where applicable. The useful result is a clear decision about this event, not a folder full of general licensing pages. An unresolved permission affecting the central offer should prevent that offer going on sale.

Keep filming separate from the live visit

The easiest first version may be an in-person session with no audience photography, audio recording or video. That protects concentration and avoids selling an experience whose value depends on uncontrolled footage circulating later. Explain the rule before purchase, repeat it on arrival, and tell staff how to respond considerately if someone begins recording.

Artist agreement to a public audience doesn't establish permission to record or publish their playing. The UK Musicians' Union's guidance on consent and performance rights explains why recording consent and later uses need attention. If you want promotional clips, specify the recording, editing, channels, permitted period and payment arrangements, and resolve all other relevant rights too.

Don't invite a marketing colleague to collect a few spontaneous clips during the first date. A separate approved recording period is easier to explain and control. The musicians know what is being captured, the audience isn't unexpectedly included, and someone checks the material before publication. Budget that work separately if it isn't part of the rehearsal engagement.

A no-recording policy also needs a route for discussing access requirements. A visitor may need a different way to follow or retain the explanation. Talk with them and the relevant providers about a suitable arrangement, considering applicable duties and rights. Don't assume that permission to make a public promotional recording and an individual access request are the same question.

For Harbour's example, the ordinary booking includes no recording, livestream or take-home footage. The host supplies a cleared, accessible written introduction and answers agreed questions in person. The example's budget therefore includes no revenue from video sales and makes no promise of a later recording. Adding either would require another plan, permissions and a revised price calculation.

Help the audience follow the work without taking it over

Choose a host who can explain the music in ordinary language and knows when to stop talking. They might be a producer, educator or musician, provided their duties and payment are agreed. Their job is to make the working decisions understandable. They don't need to narrate every pause or force a discussion whenever the room becomes quiet.

Before the event, ask the quartet to identify a few possible listening questions. How do the players decide who should be heard most clearly? What changes when the phrase moves between instruments? Which cue helps everyone begin together? These are starting points, not a script requiring the musicians to demonstrate a predetermined improvement for the audience.

In Harbour's fictional preparation meeting, the quartet suggests exploring how a melody passes between instruments. The host can ask visitors to listen for the handover, then leave the players to work. If they try a different balance, the host can later ask what they were listening for. That gives the audience a way to compare what they heard without announcing that the first attempt was wrong. The players may choose another question on the day if the work needs it. What matters is that the host understands the musical question well enough to explain it, rather than filling the silence with a biography.

A short introduction can explain the instruments, the music and what listeners might notice. It can also explain rehearsal conventions kindly. The players may repeat a few bars many times, speak briefly to one another and continue without addressing the audience. People can enjoy that much more when they know it's expected and understand what the musicians are trying to resolve.

Then leave enough uninterrupted working time. Harbour's host agrees to speak at the introduction, a planned transition and the question session. During the work, the quartet controls the discussion. If something needs explanation, the host notes it and asks at an agreed moment. The audience sees a real process while the players keep enough concentration to use the rehearsal.

Prepare a considerate way to handle questions. Let visitors submit them to the host or indicate they want to ask during the allocated period. Make the method accessible to the actual audience. The host can combine similar questions, explain an unfamiliar term and decline requests involving private matters or material outside the agreement. Nobody buys the right to direct the rehearsal.

If the quartet reaches a useful stopping point early, the host should know what is available within the agreed session. Perhaps they can revisit a listening question or invite an approved discussion. Don't manufacture a full performance to fill time if that wasn't contracted. Equally, a vague statement that rehearsals vary doesn't justify delivering almost none of the paid experience. Agree the meaningful minimum before launch. Harbour's team commits to providing both observed working blocks, hosted explanation and the advertised question opportunity. The particular passages and artistic decisions may vary. If the quartet cannot provide the observed work, the producer handles that as a change to the paid offer rather than replacing it with a long introduction and calling the morning complete.

Put public access into the working schedule

Build the schedule with the people doing the work. Include setup, instrument preparation, a private briefing, public arrivals, the session, audience departure and packing. A rehearsal call already in the diary may not allow time for all of those. Confirm the venue hours and staff shifts before announcing an attractive start time that nobody can actually support.

Harbour's invented public session runs from 10:00 to 11:45. Visitors arrive at a separate reception area from 09:35 and are seated by the start, so arrivals don't interrupt the quartet's private briefing. The quartet's agreed paid call is 09:30 to 12:00, covering its on-site briefing, the public session and packing. The host completes the private briefing before joining visitors; front-of-house staff manage arrivals. Individual preparation and agreed travel are included in its example fee. These timings are illustrative and must not replace applicable working agreements or the musicians' assessment.

The public programme allows ten minutes for introduction, forty minutes of observed work, a ten-minute break, twenty-five more minutes of work, fifteen minutes for questions and five minutes to close. That adds up to 105 minutes, including sixty-five minutes of rehearsal work. Stops and discussion between the players occur within those working blocks, so this is not a promise of sixty-five uninterrupted minutes of music.

Ask whether the break works for the players and visitors. Someone may need longer to reach the toilet or use a particular facility. A performer may need a different working pattern. Change the schedule and recalculate venue and staffing hours when necessary. Don't keep an unsuitable break simply because it makes the programme fit a neat booking interval.

Agree late-arrival and re-entry arrangements with the venue and artists. A rehearsal contains pauses, but staff still need a cue that admission is suitable. Explain any waiting arrangement before booking, including where someone can sit and how staff will assist. Keep emergency departure unrestricted, and resolve individual access needs without asking visitors to negotiate directly with the musicians.

Set a firm public finish that protects the next activity. If a rehearsal discussion runs long, the host can shorten the agreed question period only within the promise you've made and the team's approval. Repeatedly overrunning into packing or private preparation means the advertised format needs changing. It shouldn't become unpaid additional work that everyone is expected to accept.

Approve the audience layout for this use

A rehearsal room that works for four musicians may need changes before it welcomes paying visitors. Check the actual arrangement with the venue and competent people. Include instrument space, cases, cables, seating, circulation, toilets, access and emergency arrangements. A room's advertised capacity doesn't tell you how many people can safely and usefully observe the proposed work.

In Great Britain, the HSE's venue and site design guidance addresses suitability, audience and workforce numbers, circulation and exits, with responsibilities agreed where control is shared. Apply the relevant requirements where you operate. The rehearsal setting doesn't remove your responsibility for the visitors, and a small audience doesn't make unfinished setup compatible with public admission.

Test the experience from the audience positions. Can people hear the players' conversation as well as the instruments? Can they understand the host? Are the musicians comfortable with how close the audience sits? A seat that gives a lovely view but misses every spoken decision may undermine the reason someone bought the ticket. Solve the actual problem rather than assuming louder instruments mean sufficient audibility.

Plan access into the experience and information together. W3C's accessible-events checklist covers usable facilities, clear communication, assistive listening and participant requirements. For an open rehearsal, discuss how visitors will follow quiet speech, see the explanation, take breaks and move through the room. Ask what support is needed and work with the visitor and providers on the arrangements.

Harbour's fictional approved audience allocation is sixty places, of which four are reserved for non-paying audience members, including the planned accompanying-person arrangements. That leaves fifty-six paid places. The four players, one host and two front-of-house staff bring the people in this example to sixty-seven, before any additional venue staff, contractors or support required by the actual assessment. This is inventory arithmetic, not a safe occupancy recommendation.

Confirm how access and companion places are offered under your applicable obligations before publishing the sale quantity. If the arrangement changes, update the inventory and budget together. Don't use every remaining chair for a last-minute guest or walk-up buyer. Likewise, make sure audience departure doesn't cross instrument packing or other work the public shouldn't encounter.

Publish accurate details in your pre-arrival accessibility information, including how to ask questions. Avoid calling a session accessible just because the entrance is step-free. The useful promise is the verified route, facilities, communication support and attendance arrangements that a visitor can assess for themselves.

Price the session you can actually deliver

List every cost attached to the agreed offer. That includes musicians, venue, host, admission staff, rights, insurance, promotion, administration and your own preparation. Use written quotes and realistic paid hours. The fact that you enjoy producing the session doesn't make your time disappear, and the person checking tickets still needs briefing and time to clear the audience afterwards.

Harbour's entire fictional event has fixed costs of $800 for the quartet's agreed work, preparation and travel; $250 for the room, furniture, facilities and agreed access hours; $180 for the host; $160 for two front-of-house staff; $120 for rights, insurance and related administration; $100 for promotion; and $190 for producer preparation and administration. The total is $1,800. All figures are invented complete allowances for this example, including applicable employment and supplier charges.

The quartet fee covers the whole engagement described here, not just the visible playing minutes. The host and staff allowances include their agreed preparation, attendance and close. The producer allowance includes developing this first session. There is no assumption that unpaid work or an unpriced technician will fill a gap. For a real budget, replace these amounts with the actual contracted work and required providers before deciding the price.

Suppose Harbour expects to retain $38 per paid ticket after ticket-related taxes, selling and payment deductions. This is the amount available to the business from each sale, not the advertised customer price or a Loopyah fee quote. A further $2 per audience member covers the session's materials and supplies. With four non-paying visitors, those supplies cost $8 even before a paid place sells.

Each paid visitor therefore adds $36 towards the fixed costs after their own $2 supplies. Harbour needs to cover $1,808, consisting of $1,800 fixed costs plus the $8 for its four guests. Divide $1,808 by $36 and round up to the next whole ticket. The first paid attendance that covers this example's costs is fifty-one.

At forty-eight paid visitors, the session loses $80. At fifty-one, it leaves $28. At all fifty-six paid places sold, retained ticket receipts are $2,128, total audience supplies are $120, and $208 remains after the fixed costs. These results exclude income tax and financing costs, assume no refunds or other revenue, and describe one invented budget rather than evidence that buyers will pay the required price.

That's a tight first-date budget. You would need evidence that the intended audience will buy at the actual advertised total, and you'd want to know how much loss the business can absorb if they don't. There is no value in calling the event sold out while overlooking development time. Our guide to including your own time in an event budget explains that wider decision.

Test the weak sales case before committing

A full room is only one outcome. Ask what happens if demand is weaker, a supplier quote rises or part of the programme needs extra support. Use the same cost definitions each time so the comparison stays meaningful. Otherwise, the disappointing scenario can quietly omit the very costs most likely to cause the problem.

Start with the full-room result of $208. If six paid tickets each retain $10 less because of a discount, receipts fall by $60 and $148 remains. If an additional required service costs $180, with no discounts, the result falls to $28. If both happen, the session loses $32 despite selling every paid place. Those are alternative scenarios, not new base-budget costs.

A larger audience isn't always the available answer. Harbour has only fifty-six paid places in the agreed arrangement. Adding chairs could change sightlines, access, supervision and the musicians' willingness to open the session. Get a revised arrangement approved before treating extra tickets as income. If the current offer cannot cover its costs at a credible price and demand, change the offer or decline to run it.

Protect access support and required safety measures when changing the budget. A better response may be a suitable venue with the necessary provision already available, a different date with lower genuine costs or a simpler approved format. Get the revised quotes and check the experience again. Reducing a required service on paper doesn't produce a deliverable event.

Set aside cash for uncertainty as well. In this example, Harbour chooses to keep $250 available for unexpected costs. That is money it needs access to, not automatically another $250 of expenditure. Record any actual use against the relevant cost. Separately, if $700 of the included bills fall due before sales receipts arrive and only $450 is available, the immediate funding gap is $250. Paying that advance doesn't add the bill twice to the final budget.

Some operators will be opening a rehearsal already paid for by a main production. In that case, compare the genuinely additional income and costs, while keeping the main production's full budget visible. Identify where room time and artist payments have been assigned, and count each invoice once. Public access can still create overtime, extra preparation or disruption. Don't make this version look profitable by assuming those consequences are free.

Decide the latest practical commitment dates with the artists and venue. A poor sales total isn't automatic permission to cancel bookings or ignore customer obligations. Use your event budget scenarios to choose when you'll review sales, what further spending you can authorise and which contractual choices remain. That makes the decision before the money is spent much clearer.

Tell buyers exactly what their ticket includes

Name the offer as an open rehearsal in the first description. Explain who is working, what visitors can observe, how the host will help them follow it and how long to allow. Put the important limits near that description. If the most attractive image looks like a finished concert, the small print shouldn't be the first place a buyer discovers the difference.

Here's sample wording for Harbour's fictional offer, to adapt only after approval: "Watch Harbour Quartet work on selected passages in an introduced rehearsal. You'll hear the players stop, discuss and try different approaches, with time for questions through our host. The session runs from 10:00 to 11:45, including a break. It is a working rehearsal, and complete works are not promised."

The booking page would then explain the actual venue, performers, agreed material, price, audience arrangements, arrival time and access information. It would state that the session is observation rather than instrumental tuition, that recording isn't ordinarily permitted, and that admission to another concert isn't included. Add the relevant contact and change terms. The sample paragraph alone isn't a complete event page.

Don't call it a masterclass if nobody receives teaching on their own playing. Don't promise backstage access because visitors enter a rehearsal room. Likewise, a question period doesn't guarantee a private conversation or photographs with every musician. Specific descriptions help interested people recognise the offer and allow people who want something else to choose appropriately before paying.

Make the customer price clear using the requirements applicable to your sale. Harbour's budget uses retained income because that is what pays its bills, but customers need the actual total they will pay and what it covers. Reconcile any concessions or groups with that retained amount. A cheaper ticket changes the budget even if the public programme stays the same.

In Loopyah, ticket types and releases can have their own prices and quantities, and buyers receive confirmation linking to their QR tickets. Use those ordinary booking tools for the allocation you've approved. You still decide the session description, total inventory and guest arrangements. Creating several releases doesn't create more seats, and ticketing software doesn't obtain artist consent or rights clearance.

For a first session, keep the sale structure understandable. One clearly described admission may be enough. If you later sell a concert bundle, explain both entitlements and check both capacities. Don't assume that a rehearsal ticket buyer also has a concert seat or that a cancelled rehearsal leaves every combined purchase unaffected. The terms and support process need to match the actual package.

Promote the process without promising spectacle

Start with the audience most likely to enjoy watching the work. That could include existing concertgoers curious about interpretation, adult music learners or people who enjoy introduced cultural events. Define the local group you can actually reach. A performer having a large online following doesn't show how many people can attend a weekday morning in your room.

Ask interested people what they think an open rehearsal includes. Someone may expect a complete run-through; another may want to bring an instrument. Those answers help you correct the description before launching. General enthusiasm is useful feedback, but the budget needs a credible route to paid bookings. Don't count a conversation about the idea as a ticket sale.

Use approved material to show why the process is interesting. A musician could explain a listening question in a separately agreed message, or the host could write about one decision visitors might encounter. Keep it specific without scripting an outcome. You can say the players will explore how a passage is shaped if that is agreed; you can't guarantee a dramatic disagreement or transformation for the camera.

Avoid promoting the event as secret access to mistakes. The musicians need to trust the producer, and the audience needs to understand why repetition is useful. Marketing that invites visitors to catch performers getting things wrong can attract expectations the rehearsal cannot satisfy. Describe the insight people can gain from observing decisions, supported by the artists' approved explanation.

Ask venue partners and relevant local organisations to share the accurate booking page. Agree what each partner will actually do and when. If a music school wants places, set a real group-booking deadline and explain the audience requirements. Leave unpaid enquiries separate from confirmed orders. A promising partnership shouldn't occupy inventory indefinitely while the paid allocation sells elsewhere.

Be careful about discounts near the deadline. Harbour's example shows how little remains even at full capacity. First check whether buyers understand the offer, whether the session time suits them and whether relevant people are seeing it. Spending another $100 to sell two tickets that each add $36 after supplies reduces the result by $28. More sales only help when the extra income exceeds the extra cost.

Prepare the team for changes during the session

Give the host and front-of-house team the same current brief. Include the audience promise, approved layout, arrival arrangements, recording policy, access requests, emergency contacts and cues for admission. Name the person authorised to make customer decisions. The musicians shouldn't be expected to resolve an order problem while tuning, and an usher shouldn't have to invent a refund policy at the door.

Before opening, confirm that the session can deliver its central promise. Are the advertised musicians or agreed replacements available? Is the approved work usable? Can visitors hear the spoken explanation? Is the required support in place? Resolve material differences before admitting the audience, with an honest explanation and appropriate options where needed. Quietly proceeding doesn't make the original description accurate.

Keep ordinary artistic variation separate from a substantial change. Repeating a passage several times belongs within the open-rehearsal description. Replacing the observed work with a host talking alone for most of the morning may change what the buyer receives. Decide based on the actual promise and applicable obligations, not a general statement that programmes are subject to change.

For UK operators, the Competition and Markets Authority's unfair-contract-terms guidance, updated in July 2026, explains the need for fair and transparent consumer terms. Have your cancellation, substitution and change arrangements checked for the actual sale and jurisdiction. Publishing an unrestricted right to change everything doesn't settle your responsibilities to people who paid for a particular experience.

Tell ticket holders about a material change promptly through the relevant service communication. Loopyah's attendee email tools distinguish event updates for ticket holders from promotions to people who agreed to receive them. Use the appropriate message, with the changed facts and next action stated clearly, and test it before sending. The tool handles the audience selection; you remain responsible for the accuracy and timing of the explanation.

During the rehearsal, the host should acknowledge a prolonged interruption without inventing information. They can explain what is known, what the team is checking and when another update will follow. If the private conversation needs more time than the promised experience can absorb, the producer must decide the next step with the artists and venue. Don't put pressure on performers by telling the audience that they are the reason everyone is waiting.

Review whether another paid session makes sense

Afterwards, reconcile the actual numbers. Count paid bookings, discounts, guests, refunds, retained receipts and costs, including agreed extras and your preparation. Compare attendance with bookings without treating a no-show as an automatic refund decision. Credit advances against the invoices they paid. The useful result is what the session actually earned or lost after the work required to deliver it.

Then ask the quartet whether the public session helped or hindered its rehearsal. Did the agreed working time remain usable? Were the host's interventions appropriate? Did anyone feel pushed into explaining a private decision? A profitable date can still be a poor format if it damages the working relationship. Record the specific change needed before offering the next one.

Ask visitors about the experience in equally concrete terms. Could they hear the discussion? Did the introduction help them understand what was happening? Was the amount of observed work what they expected? A comment asking for more complete music may reveal a different audience preference, rather than a reason to turn every future rehearsal into a concert. Decide which audience you want to serve and describe that choice clearly.

For Harbour, a full-room $208 result would leave little room for repeated extra costs. The next decision might be a revised price, a genuinely cheaper suitable room or a different paid format agreed with the musicians. Before announcing another date, obtain the revised artist and venue agreement, update the cost calculation and test the description with the people you expect to buy. Only reopen sales when that version works for both the rehearsal and the audience.