After just two years operating in their new Loop theatre, Noble Fool closed its doors April 29, citing outstanding debt as the cause. Rumors that the company was having financial difficulty—which began circulating just months after they assumed the space on Randolph—were confirmed by managing director Paul Botts. "While earned revenues at the Loop theatre have been near targeted levels, contributions and sponsorships have fallen well short of the levels required to continue," he says. All mainstage, studio and cabaret productions have been suspended, but programming will continue at the Noble Fool Theatre at Pheasant Run Resort in St. Charles, a partnership that began in June of last year. "Clearly, though we're continuing, it will have to be with a much smaller staff," adds Botts. The board of directors is currently examining strategies for regrouping as a non-profit arts organization, operating out of the Pheasant Run office. Noble Fool's closing also leaves the popular comedy shows Cast on a Hot Tin Roof and Flanagan's Wake temporarily homeless.

Things have changed considerably since the 2002 contract negotiations between Actors' Equity and the League of American Theatres and Producers. Instead of waiting for the fall expiration date to roll around, representatives from both groups sat down at the table April 1 with the hopes of having a new contract nailed down by June 27. Both have been somewhat clandestine on the specifics of their proposals, but outwardly they seem to agree on where they've begun. "We agree on what the major issues are—that is non-touring productions and the health plan," says Equity spokesperson Maria Somma. "The touring and healthcare issues are upfront and very much intertwined." The state of Equity's healthcare plan has spent plenty of time in the news since Equity members were informed that the fund was suffering a $16 million deficit last fall. The cause, says Somma, is in part due to the proliferation of non-Equity tours, which has lessened healthcare contributions on behalf of producers.

For their part, the producers are most likely bringing to the table a package that would increase the number of Equity touring shows while also giving their member producers economic breaks competitive with non-league tour shows. The perks that are likely to be lost with such a package include per diem pay for rehearsals and payment for transportation and related expenses. "In order for Equity to sit at the table, the League needs to show the financials – the whole thing – to prove economic distress. And they have not done that yet," says Somma. "But that doesn't mean they won't. It just means they haven't yet." And so the negotiations continue. For updates, see the members-only area at actorsequity.org.

In other union negotiation news, the committees representing the Writers Guild of America (WGA) and the Alliance of Motion Picture and Television Producers failed to solidify an agreement by the May 2 expiration of the Minimum Basic Agreement. Both, however, did exchange proposals the following day and agreed to continue negotiations past the deadline, the WGA announced in a statement. While neither side would agree to comment on the status or specifics of the negotiations, assistant executive director of WGA west, Cheryl Rhoden, confirmed the WGA is seeking more funds for the writers-producers health plan, a greater share of dollars from home video and DVD sales, and a change of the "one draft deal," in which a screenwriter gets paid for a first draft but not for numerous rewrites.

Stage Left's artistic director Jessi D. Hill announced her resignation as of June 1 to pursue an MFA in directing from the Yale School of Drama. Hill, AD since August 2000, has worked with literally dozens of Chicago theatres in various capacities and will cap her final days in the Midwest by directing the world premiere of David Scott Hay's Jeff-recommended [the] Violent Sex for Visions & Voices April 24–May 30, as well as co-producing Stage Left's first annual LeapFest 1 May 14–30. "Resigning my position as Stage Left's artistic director is quite bittersweet," says Hill. "My tenure with this theatre has seen many positive collaborations and artistic triumphs, yet pursuing a graduate degree in directing has been a long-time goal of mine which I feel ready for at this point in my career." The Chicago theatre community is invited to Hill's send-off party following LeapFest 1 May 22, starting at 9:30 p.m. at Stage Left. A triumvirate of current ensemble members—Kevin Heckman, John Sanders and David M. Schmitz—will assume leadership responsibilities for the ensemble for an interim period of one year.

Chicago actor Will Clinger has decided to give up his day job as host and segment producer of "Wild Chicago" after an 11 year run. Clinger joined the show in 1992 and earned himself a whopping 14 Midwest Emmys over the years. He produced and hosted a bunch of their memorable documentaries, including Bleacher Bum—Rabid Fans of Wrigley Field, Lost And Found—Chicago's Offshore Treasures and The Legend of Del Close. Clinger also continued to appear on stage while hosting the show, acting with the likes of A Red Orchid, Apple Tree, Illinois Theatre Center, Chicago Shakespeare and Remains. "As it happens, some very attractive opportunities in the theatre were offered to me just as I was beginning to entertain thoughts of moving on from 'Wild Chicago,'" says Clinger. His immediate plans include playing the lead character in Irish Rep's next production, A Dublin Bloom, then returning to spend the rest of the summer with the Peninsula Players in Door County, Wisc., where he's also worked in the past. Hungry for bluegrass? You will also find Clinger around Chicagoland with his band, The Famous Brothers.

And finally, we'll soon be saying goodbye to Chicago actress and cabaret diva Alexandra Billings. She and wife Chrisanne Blankenship are packing up their cats and moving to sunny Southern California. Billings says there are a lot of reasons for the move—the weather, the need to go home and wanting to pursue some TV projects. "Look at us. We're like 'The Beverly Hillbillies,'" says Billings. "Just packing up our boxes and leaving." Don't be too bummed—she also predicts that one day they'll find their way back to Chicago!

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