A steadily working actress, most recently appearing in the hit show, “24,” dark-haired beauty JoBeth Williams was perhaps best remembered for a string of hit films in the early 1980s, most notably as the terrified yet determined young mom in the Spielberg classic horror film, “Poltergeist” (1982).Born Dec. 6, 1948 in Houston, TX, Williams developed an interest in performing while in high school, thanks in part to the influence of her father, an opera singer. At age 18, she joined Actor’s Equity so she could participate in a local musical company. While she attended Brown University, however, she chose to focus on her English and psychology studies, having been discouraged from pursuing acting. Upon graduation from college in 1970, she threw caution to the wind and joined the Trinity Repertory Company in Providence, Rhode Island.
Williams worked in local theater for awhile, before bowing on Broadway in “A Coupla White Chicks Sitting Around and Talking.” She also began getting bit parts on the hallowed acting ground of soap operas. These included a small role on the short-lived soap, “Somerset” (NBC, 1970-76), before winning her first regular role – as photographer and vixen Brandy Schlooe – on “Guiding Light” (CBS, 1952- ), staying with the soap for the 1976-77 season.
Shortly thereafter, Williams made her feature film debut in the Academy-Award winning tearjerker, “Kramer vs. Kramer” (1979). In the small but pivotal role of Dustin Hoffman’s girlfriend, Phyllis, Williams caught moviegoers attention when she emerged from the shower and was awkwardly spotted by the child for whom Hoffman’s character is hoping to win custody.
Continuing her steady rise, she landed the part of Meredith in the blockbuster Richard Pryor/Gene Wilder comedy “Stir Crazy” (1980). The part, along with a role in the film, “The Dogs of War” the following year, brought her further attention by both moviegoers and the Hollywood powers that be.
Entranced by her earthy beauty, believability and ample on screen charms, Williams was soon cast by producer Steven Spielberg and director Tobe Hooper in the suburban horror classic, “Poltergeist.” Starring in her first lead role as the resident mom-in-peril opposite Craig T. Nelson, the actress had several memorable moments as determined mother Diane Freeling – chief of those, was a fantastical scene where unseen spirits cause her to roll up a bedroom wall and across the ceiling, as well as a gruesome sequence where she falls into a muddy swimming pool filled with the skeletal remains of rotting corpses buried beneath their home. Released the same summer as Spielberg’s other hit film, “E.T.,” fans who flocked to “Poltergeist” expecting a feel-good family flick like the former, were left speechless watching the horrific images of faces being ripped off, children being sucked into tentacled closets, and killer clowns attacking kids while they slept.
Williams maintained her hot streak by starring in the critically acclaimed classic, “The Big Chill” (1983) – the story of several baby boomers coming together for a weekend after the death of an old friend. Written and directed by Lawrence Kasdan, the ensemble film paid homage to the ‘60s generation coming to terms with what appears to be the end of their idealism.
Moving back to the small screen, Williams appeared in the controversial ABC television movie, “The Day After” (1983) – a film which successfully scared a generation of children who never forgot the images of a nuclear winter in America. A sobering portrait of Reagan-era atomic fears, the film focused on the devastation of a small Kansas town after a Russian nuclear attack. Williams played Nurse Nancy Bauer in the critically lauded telepic, which drew nearly 100 million viewers. That same year, she bagged the lead role in the heartbreaking NBC movie-of-the-week, “Adam,” which detailed a family’s grief in dealing with child abduction. She topped off her peak years with a return to the big screen in “Teachers,” (1984), starring opposite Nick Nolte and Judd Hirsch.
After starring in the Spielberg-less “Poltergeist II: The Other Side,” an unfortunate follow- up which was decidedly more “b-movie” than its predecessor, Williams turned to a string of smaller TV movie roles, including “Adam: His Song Continues” (NBC, 1986), “Baby M” (ABC, 1988) and straight-to-video fare such as “Child in the Night” (1990) and “Victim of Love.” (1991). She made the jump to animation by providing a voice for the experimental “Fish Police,” (CBS) a short-lived prime-time cartoon series in 1992, as well as for “Batman: The Animated Series” (Syndicated, 1992-95).
In 1994, Williams moved behind the camera, producing and directing the 30-minute feature, “On Hope,” starring Annette O’Toole and Mercedes Reuhl, which was nominated for an Academy Award for Best Short Film. She went on to direct other short subjects, including an episode of the supernatural TV series, “Night Visions” (Fox, 2001) entitled “The Doghouse.”
After a brief behind-the-scenes respite, Williams returned to the big screen as Bessie Earp in “Wyatt Earp” (1995), starring opposite star Kevin Costner and again working with director Kasdan. She was among the first of a series of high-profile actresses to guest star as a love interest on “Frasier” (NBC, 1993-2004), appearing as Madeleine in a two-parter in the second season. She next starred in the short-lived television adaptation of John Grisham’s “The Client,” (CBS, 1995), playing the lead role originated by Susan Sarandon in the theatrical version.
Although her string of early 1980s hits were behind her, Williams continued to knock out relevant performances which resonated with viewers. After appearing in a series of smaller films, Williams came back to TV like many film actresses of her age, making memorable guest spots on “Law & Order: Special Victims Unit,” (NBC, 1999- ), “Judging Amy” (CBS, 1999-2005) and “Strong Medicine” (The Lifetime Network, 2000- ), as well as a regular role in the short-lived “Miss Match” (NBC, 2003).
In 2005, Williams landed a supporting role in the Jimmy Fallon/Drew Barrymore comedy “Fever Pitch” and made a series of guest spots on “Las Vegas,” (NBC, 2003-) “Numb3rs” (CBS, 2005-) and “24.” (FX, 2001- ). Despite her heavy schedule, she remained active in Los Angeles stage and radio theater and continued to enjoy her successful long-time marriage to television director John Pasquin, with whom she had two children.