Picture a dance school running a national audition tour: thirty cities, hundreds of dancers, a faculty panel that changes from stop to stop, and a line of walk-ins at every studio door. Registration lists drift out of date by morning, numbers get pinned at the check-in table, and score sheets pile up next to the sound system. PCR Educator runs that entire season in one system, from the family's first registration to the final placement report, and the same workflow covers interview days and entrance testing for schools that do not hold a single plié.
Before the tour: set up auditions once
Every audition belongs to an audition category: the summer intensive tour, company placement, year-round program auditions. The category carries the operating rules: capacity, how many attendees a family may bring, when online registration closes, and what lands on the dancer's record at sign-up. The individual stops on the tour, each with its own date, studio, and capacity, sit underneath.
The category also carries the panel. Assign your adjudicators to the category once, and every dancer who registers for any stop on the tour is routed to them automatically. When faculty rotate mid-tour, update the category and the assignments follow. Hand-picking a panel for one dancer still works, and the two approaches run side by side.
Dancers register themselves
Families register through the school's portal. They see open sessions, remaining spots, and your instructions; the system enforces registration windows and family limits. The moment a family registers, the dancer's record gets the audition on it, the admissions checklist advances, and the panel can already see the name on their list. Nobody at the front desk re-types a registration.
Audition day: check in, pin the number
Walk-ins are a fact of audition day, so check-in treats them like everyone else: staff attach the dancer to the audition, and the panel routing happens on the spot. At the same table, staff issue each dancer an audition number, the one pinned to the leotard. The number lives in its own field on the audition record, deliberately separate from the panel's notes, so registrars can sort and export by it without untangling comments. When the dancer returns for another audition, a new number takes its place. Each audition keeps its own history.
In the studio: score the whole room on one screen
Adjudicators open their screen, filter to the tour and the stop, and see exactly the dancers in the room, each with the number pinned to them. The scoring grid lays the room out side by side: one column per criterion (technique, artistry, musicality, whatever your rubric defines), a comment box, and the audition number. Rubrics are fully configurable per audition type, numeric ranges or custom scales, and each adjudicator sees only the dancers assigned to them. Finished evaluations lock, and every score is attributed to the panelist who entered it.
After the tour: results are already where they belong
Nothing waits for transcription. Scores, comments, and numbers are on the dancer's record the moment the panel saves. The admissions office pulls acceptance and placement reports sorted by audition number, aggregates results across panelists, and reaches every field through the Data Analytics Tool. Callbacks, re-auditions, and multi-city tours accumulate as clean per-audition history instead of overwritten spreadsheets.
The operating principle
Audition season is a throughput problem. The schools that run it well remove every manual handoff between the family, the check-in table, and the panel. That is what this workflow does: registration feeds the panel, check-in feeds the grid, and the grid feeds placement, with no re-keying anywhere in the chain.