The recent passing of William Smithers at 98 marks the end of an era in television and stage acting, but it’s also a moment to reflect on the complexities of a career that spanned decades, genres, and mediums. What makes this particularly fascinating is how Smithers’ life encapsulates the evolution of the entertainment industry—from Broadway’s golden age to the rise of television and the legal battles that defined actors’ rights. Personally, I think his story isn’t just about a prolific career; it’s a testament to the resilience and principle of an artist who refused to be sidelined by industry pressures.
One thing that immediately stands out is Smithers’ transition from Broadway to television. Starting alongside Olivia de Havilland in Romeo and Juliet and working with Richard Burton in Legend of Lovers is no small feat. But what many people don’t realize is that this theatrical foundation likely shaped his ability to navigate the competitive world of television. His move to Los Angeles in 1965 wasn’t just a career shift—it was a cultural leap from the intimacy of stage to the broader, more commercial landscape of TV. This transition raises a deeper question: How did his stage experience influence his on-screen presence? In my opinion, it gave him a gravitas that set him apart in roles like Jeremy Wendell in Dallas.
Speaking of Dallas, his portrayal of the CEO of WestStar Oil opposite Larry Hagman’s J.R. Ewing is arguably his most iconic role. But what’s often overlooked is the dynamic between the two actors. Smithers described working with Hagman as a challenge, not just because of their characters’ rivalry but because of Hagman’s commanding presence. This raises a fascinating point about the psychology of acting—how does one maintain their own performance while sparring with a legend? From my perspective, Smithers’ ability to hold his ground speaks to his professionalism and skill.
What’s even more intriguing is his departure from Dallas over a pay dispute. In an industry where actors often feel disposable, Smithers’ decision to walk away over a matter of principle is both bold and revealing. He was paid very little, and his agent’s failure to secure a fair deal ended his run on the show. This isn’t just a footnote in his career; it’s a reflection of the broader issue of compensation in television. If you take a step back and think about it, this was the 1980s—a time when actors were beginning to demand more control over their careers. Smithers’ stand was ahead of its time.
But perhaps the most compelling chapter of his career is his lawsuit against MGM in 1976. After being promised top billing and compensation in Executive Suite, Smithers found himself betrayed by the studio. What this really suggests is that even established actors were vulnerable to contractual violations. His decision to sue, despite threats of blacklisting, is a masterclass in standing up for oneself. What makes this particularly fascinating is that his case is now taught in entertainment law courses—a lasting legacy that goes beyond his on-screen work.
A detail that I find especially interesting is his return to theater in the 2000s with the Santa Barbara Theater of the Air. After decades in television and film, why would someone of his stature return to radio plays? In my opinion, it speaks to his love for the craft itself, not just the medium. It’s a reminder that true artists are driven by the desire to create, regardless of the platform.
Finally, his work with his wife, S. Lorraine Boos Hull, on Just Between Us adds a personal layer to his career. Co-hosting and co-producing a show with your spouse is no small feat, and it highlights the collaborative nature of his work. What many people don’t realize is that this kind of partnership is rare in an industry often defined by competition.
If you take a step back and think about it, William Smithers’ career is a microcosm of the entertainment industry’s evolution. From Broadway to television, legal battles to radio plays, his journey is a reminder of the artistry, resilience, and principle required to navigate a career in the spotlight. Personally, I think his legacy isn’t just in the roles he played but in the standards he set—both for himself and for those who followed.
