All Headshot Photos by Jen Stanko / Ozinga Photo by Melissa Morley
Veronica Dillard Smith is an actress, voice-over artist, comedian, and parts model—who’s been lighting up screens, stages, and studios for the past five years. God has truly opened doors, leading her to appear on FOX, ABC, NBC and Amazon Prime. You may recognize her from her standout film roles and her recurring spot on the hit series Seasoned. August 9th, 2025, Veronica tied the knot with her leading man and real-life co-star, William Smith Jr. and is now Mrs. Smith!
Her television commercial portfolio features national brands such as Kohl’s, the Green Bay Packers, Northwestern Mutual, and the Wisconsin and Indiana Lotteries. On stage, Veronica has graced iconic venues including the Goodman Theatre and the Harold Washington Cultural Center.
Her unmistakable voice has powered major campaigns for Under Armour, Chicago Symphony Orchestra, Jockey, NCAA March Madness, Frost Bank, and Cheerios—just to name a few.
And big news: Veronica will be co-starring on Episode 10, Season 11 of NBC’s Chicago Med in January 2026!
Wherever she is—on set, on stage, or on the mic—Veronica Dillard Smith shows up with purpose, passion and praise. GOD gets all the glory.
Editor’s Intro
In an industry often defined by fleeting trends and compromised values, Veronica Dillard Smith stands as a masterclass in authenticity. She is a true multi-hyphenate—an actress, voice-over artist, comedian, and parts model—whose portfolio reads like a “who’s who” of national brands and iconic stages. From the profound gravity of the Goodman Theatre to the high-stakes adrenaline of NBC’s Chicago Med, Veronica’s range is surpassed only by her resolve.
Fresh off her most beautiful role to date—marrying her real-life leading man, William Smith Jr.—the woman now known as “Mrs. Smith” sits down with GO BANG! Magazine to discuss the mental load of versatility, the ethics of portraying trauma, and why she refuses to move without her ultimate Director and Producer.
GO BANG! Magazine proudly presents an exclusive interview with the versatile, the vibrant, and the virtuous: Veronica Dillard Smith.
The Dichotomy of Faith & Fame
GO BANG! MAGAZINE: You explicitly state, “God gets all the Glory!” How do you reconcile the often-secular, cutthroat, and unpredictable nature of the entertainment industry—where roles demand vulnerability and sometimes moral ambiguity—with your very public commitment to your faith? Have you ever turned down a role because it fundamentally challenged where you draw the line?
Veronica Dillard Smith: As a faith-based actor, I reconcile the realities of the entertainment industry by grounding my identity and values outside of the industry itself. My faith defines who I am; acting is what I do. That distinction allows me to enter vulnerable, complex, and ambiguous roles without compromising my core beliefs.
Many people live by WWJD — “What Would Jesus Do?” not only do I also; I’ve added my own compass: WWFDD — “What Would Florine Dillard Do?” My momma!!! It keeps me grounded, self-aware, and aligned with both my faith and my brand as an artist.
I’ve never had to turn down a role because boundaries are established upfront. When agents sign talent, they ask clearly what we are and are not willing to do—and I’m intentional about communicating mine from the start. That clarity creates mutual respect and prevents misalignment later.
On the flip side, when I’m submitting myself for roles on casting platforms, I curate my opportunities just as carefully. I intentionally steer away from projects that include nudity, choosing roles that align with my values while still allowing me to tell compelling, meaningful stories.
Faith, professionalism, and preparation allow me to move confidently in this industry—without compromise.
The Mental Load of Versatility
GO BANG! MAGAZINE: Your career is defined by extreme shifts: from the gravitas of playing Sandra Bland at the Goodman Theatre to selling Hefty Slider Bags as a lead hand model to being the voice of the Chicago Symphony Orchestra. What is the rigorous mental discipline or psychic filter you employ to prevent feeling fragmented, and how do you ensure the authenticity of Veronica Dillard Smith doesn’t get lost in the constant rotation of brands and characters?
Veronica Dillard Smith: I see those shifts not as fragmentation, but as range anchored by intention. The mental discipline I rely on is identity clarity. Before I step into any role—whether it carries historical weight, commercial polish, or institutional authority—I remind myself that I am not my assignments; I am the vessel moving through them. The genres are different, but the discipline is the same: I enter each space with respect for its purpose, audience, and responsibility.
The Politics of Performance
GO BANG! MAGAZINE: The role of Sandra Bland in I AM FEST is deeply rooted in recent, painful social justice history. What ethical responsibility do you believe an actor has when portraying real-life trauma? Did you feel pressure to deliver a specific political or emotional message, and how did that challenge compare to a comedic role like Sister Act Parody?
Veronica Dillard Smith: When a story is rooted in recent, painful social justice history, an actor is not just interpreting a role; they are holding someone’s lived experience, their family’s grief, and a community’s unresolved wounds. My responsibility in portraying Sandra Bland in I AM FEST was to lead with truth, dignity, and restraint.
Both genres demand rigor, but in opposite directions. With Sandra Bland, I carried responsibility to honor silence and stillness. With comedy, the responsibility is to serve joy without trivializing it. Navigating both has strengthened my range, but more importantly, it has reinforced my belief that the actor’s highest duty—regardless of genre—is respect for the story and care for the audience receiving it.
The Objectification of the “Part”
GO BANG! MAGAZINE: As a “parts model” for high-profile brands like Hefty and Ozinga, your physical features become the central, anonymous focus. Do you feel this work is limiting or liberating, and how do you feel about the industry’s need to simultaneously objectify a physical part (a hand, a smile) while demanding that you, as a dramatic actress, be a complete, fully integrated human being?
Veronica Dillard Smith: I find parts modeling to be liberating rather than limiting—because it is anonymous. When the focus is on a hand or a smile, the ego is removed from the equation and the craft becomes about precision and discipline. It sharpens my awareness of detail and control, which directly strengthens my work as a dramatic actress. As a dramatic actress, my fullness lives in my voice, my choices and my stillness. Parts modeling doesn’t threaten that; it actually reinforces it by reminding me that no single job gets to define me. I can be both precise and expansive, anonymous and deeply seen. Look at those hands!!
The Power of Anonymity
GO BANG! MAGAZINE: Your voice is the signature sound for major campaigns—from the energy of Under Armour and NCAA March Madness to the warm, trusted tone of Cheerios and Frost Bank. Does the anonymity of being a powerful, sought-after voice-over artist feel more impactful or less fulfilling than the vulnerability and immediate feedback of being seen on stage at the Goodman?
Veronica Dillard Smith: For me, impact and fulfillment live in different places, and I’ve learned not to rank them against each other. The anonymity of voice-over work is incredibly powerful because it allows the message—not my face—to lead. When my voice carries the energy of Under Armour or NCAA March Madness, or the warmth and trust of brands like Cheerios and Frost Bank, I’m shaping how people feel in a moment they may not even consciously analyze. That kind of influence is quiet, expansive, and deeply effective.
At the same time, being on stage at the Goodman offers a different kind of fulfillment—one rooted in vulnerability and immediacy. Theatre asks me to be fully present, night after night, in a shared space where breath, silence, and reaction are exchanged in real time. You feel the audience leaning in or exhaling with you, and that exchange is irreplaceable.
The Industry’s Definition of “Nice”
GO BANG! MAGAZINE: You appeared in the film Nice Guys Finish Last. In an industry where success often requires sharp elbows and a high tolerance for rejection, what is the ‘un-nice’ truth about the entertainment business that you wish more hopeful actors understood before they started, and how do you maintain your grace while navigating it?
Veronica Dillard Smith: I wish more hopeful actors understood that success here requires endurance more than momentum. You can do everything right and still hear “no.” You can deliver your best work and never get feedback. And visibility doesn’t always correlate with sustainability.
I maintain my grace by separating my worth from outcomes. I don’t audition to be validated; I audition to serve the work. I prepare thoroughly, show up professionally, and release the result. It’s choosing not to internalize rejection, not to compete in comparison, and not to compromise character for access. My job is to book the room, even if I don’t book the role.
The Role of the Muse
GO BANG! MAGAZINE: You trained with industry masters like Jerry Kernion and voice legend Dave Fennoy and Jentel Hawkins. Was there a specific moment during your advanced training where a coach challenged your core identity—not just your technique—and forced you to rethink who Veronica Dillard Smith is as an artist?
Veronica Dillard Smith: Yes—there was defining moments when the challenge moved beyond technique and straight into identity. During advanced training, I was delivering work that was polished, controlled, and technically sound. A coach stopped me and said, in essence, “Overall, you have a good foundation. I loved the production of the reel. The sound fx really help paint the picture of each character’s world and bring it to life. Now it’s about taking your character’s to the next level. Really good job though. Also, the youtube skit as the old lady was really funny and would love to hear her on your demo in the future. Be mindful still of your pace. 🙂 ” That landed deeply.
Up to that point, I had been trained to be excellent—clear diction, strong choices, emotional access, professional reliability. But what I was being challenged on was why I speak, not how I speak. Jerry Kernion pushed me to strip away performance habits and let silence, imperfection, and specificity do more of the work. Dave Fennoy and Jentel Hawkins challenged me to trust my lived authority—to stop rounding my edges to sound “marketable” and instead let my voice carry weight, age, wisdom, and truth.
The Breadth of Tragedy and Comedy
GO BANG! MAGAZINE: You’ve performed powerful drama and comedy, including improv at Second City. Do you find that the deeper you can tap into tragedy (e.g., I AM FEST), the better or more dangerous your comedy becomes? Is humor a tool of resistance or simply another method for conveying truth?
Veronica Dillard Smith: So I don’t see tragedy and comedy as opposites; they’re partners. Tragedy teaches you where the line is. Comedy teaches you how to walk it. When held with discipline and care, humor doesn’t dilute the truth, it amplifies it. Tragedy sharpens your awareness of stakes, timing, and humanity. When you’ve sat with real pain, you understand that comedy isn’t about deflection; it’s about precision. That awareness can make comedy more potent because it’s rooted in truth rather than avoidance. My training—especially in improv at Second City—taught me that the best comedy comes from commitment and listening, not from chasing laughs. You don’t mock the truth; you reveal it and let the humor emerge naturally.
Theatre vs. Television Truth
GO BANG! MAGAZINE: You have a foot in both worlds: the revered Chicago theatre scene and major network/streamer credits (NBC, FOX, Peacock). What is one essential, immediate truth about the human condition that the theatre stage teaches you that a Hollywood or major television set fundamentally cannot?
Veronica Dillard Smith: On stage, there is no edit, no reset, no safety net. You and the audience are breathing the same air, holding the same silence, experiencing the same moments together for the first—and only—time. That shared vulnerability creates accountability. You feel when the truth lands and when it doesn’t. The audience becomes a living participant, and you are responsible to them in real time.
A film or television set is built for precision, control, and longevity. Performances are captured and edited; you can fix a moment later. On stage, you must be the moment.
GO BANG! MAGAZINE: “NBC’s ‘One Chicago’ universe is known for its intense drama and dedicated fanbase. Your past work, from theater to shows like The Oval, has often featured complex narratives about power, family, and community. Given the deep connections between the Chicago shows, did you find yourself approaching this costar role with an awareness of the larger narrative fabric of Chicago? And, looking ahead, if the opportunity arose, what kind of cross-over scenario would you love to see your Chicago Med character—or a new character—tackle alongside the teams from P.D. or Fire?”
Veronica Dillard Smith: Often, scenes can take place either at Cinespace Studios Chicago or out on location throughout the city, and that variety truly ignites my passion for the work. There’s something incredibly meaningful about bringing a script to life in my hometown of Chicago—walking onto the set, seeing the behind-the-scenes craftsmanship, and knowing these streets and spaces are part of the story we’re telling.
Every time I drive past a location that I was on set- those moments come rushing back. The city becomes a living archive of memories tied to the cast, the crew and the experience itself. It’s a reminder of how deeply places can influence performance and storytelling.
As for crossovers, I absolutely love it when the Chicago shows come together. There’s a real sense of unity in those moments, much like the annual crosstown classic Sox vs. Cubs matchup. It brings different audiences together, invites fans to step into another corner of the same world, and amplifies the energy across all the shows. It’s one city, one sound, one band—and that shared spirit is what makes it so special.
Upcoming Premier
GO BANG! MAGAZINE: “As a seasoned actor, you’ve had the chance to develop characters over entire seasons and series. Your upcoming role on Chicago Med is a powerful, self-contained arc in a single episode. How does your preparation process shift when you know you have just one hour of television to make a character resonate and impact the audience, particularly in the high-stakes, emotional world of a medical drama? Were there any unique challenges or freedoms in telling a complete story within the confines of this format?”
Veronica Dillard Smith: I focus on identifying the character’s emotional spine immediately—who they are, when we meet them, who are they talking to, and what they stand to lose. In a medical drama, where the stakes are literally life and death, that clarity is essential. Every choice has to serve the truth of the moment because the audience is absorbing information quickly and viscerally. One of the unexpected freedoms of this format is that it allows for boldness. You can make strong, decisive choices without worrying about how the character will evolve three episodes down the line. What makes this episode especially exciting is that you never quite know where the story—or the scene—will take place. The unpredictability adds another layer of tension and emotional impact, and it’s something audiences will want to experience for themselves. So be sure to tune in Wednesday, January 21st at 7:00 PM CST to watch Chicago Med Episode 10 and find out.
The Legacy Question
GO BANG! MAGAZINE: You are a multi-hyphenate artist with credits spanning every major medium. If your career were condensed down to a single, impactful, six-word memoir for future artists to learn from, what six words would define Veronica Dillard Smith’s legacy?
Veronica Dillard Smith: KEEP GOD AS YOUR DIRECTOR & PRODUCER
GO BANG! MAGAZINE: Well Veronica, you have officially been BANGED! GO BANG!!!
The Portfolio of a Powerhouse
Veronica Dillard Smith doesn’t just inhabit roles; she masters mediums. Whether she is commanding the stage at the Goodman Theatre, lending her “Shero” vocals to Under Armour, or navigating the high-stakes halls of Chicago Med, her resume is a testament to the power of preparation and the beauty of range.
Below is a look at the impressive body of work that has established Mrs. Smith as one of the most sought-after multi-hyphenate talents in the industry today.
FILM & TELEVISION
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Chicago Med | Co-Star | NBC
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Divorce Court | Lead | FOX
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Seasoned: The Series | Lead | TUBI
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Humanity Without A Home | Lead | A1 Quality Media
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The Refuge | Co-Star | WJYS
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Nice Guys Finish Last | Supporting | Sunset Entertainment
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Disconnected 1 & 2 | Supporting | Killing The Arts TV
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Til Death Do Us | Supporting | Red On Black
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See The Light | Principal | Courage Over Fear TV
THEATRE
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I AM FEST (Sandra Bland) | Goodman Theatre
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Sister Act Parody (Missy Elliot) | Second City
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Ebony Scrooge | Harold Washington Cultural Center
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Imitation of Life | Harold Washington Cultural Center
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The Boys in the Hoods | Denton Hall
COMMERCIALS & PRINT
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National Brands: Kohl’s, Green Bay Packers, Door Dash, Northwestern Mutual.
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State Lotteries: Indiana Hoosier Lottery, Wisconsin Lottery.
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Specialized Modeling: Hefty Slider Bags (Lead Hand Model), Ozinga (Lead Print Model), Milwaukee Tools.
VOICE OVER (Select Credits)
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Athletics: Under Armour (“Shero”), NCAA March Madness.
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Lifestyle: Cheerios, Jockey, Frost Bank.
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Arts & Community: Chicago Symphony Orchestra, Chicago Lighthouse, Dave Thomas Foundation.
TRAINING & ARTISTRY
Veronica’s craft is sharpened by the best in the business, including Jerry Kernion (Nail The Guest Star), Dave Fennoy (Voice & Speech), and Christine Horne (Advanced Scene Study).
Special Skills:
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Vocals: Alto & Tenor Range; Professional Voice Over Artist.
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Movement: Contemporary, Hip-Hop, and Club Dancing.
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Athletics: Biking, Jogging, Basketball, Volleyball, and Golf.
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Dialects: Southern, Jamaican, New Orleans, and Conversational Spanish.
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Stage Presence: Stand-Up Comedian, Professional Host, and Public Speaker.
Veronica Dillard Smith: By the Numbers
To give you a snapshot of the sheer scale of Veronica’s impact over the last five years, here is a look at her career by the numbers:
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4 Major Television Networks (NBC, ABC, FOX, Amazon Prime)
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50+ National and Regional Brands Represented
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3 Iconic Chicago Stages Graced (Goodman, Second City, HWCC)
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1 “One Chicago” Universe Debut (Chicago Med)
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∞ Glory Given to God
Editor’s Outro
Veronica Dillard Smith is a reminder that you don’t have to choose between professional excellence and personal conviction. Whether she is lending her signature voice to a global campaign or bringing a complex character to life on a Chicago soundstage, she moves with a clarity that only comes from knowing exactly who—and whose—she is. As she continues to blaze a trail through the “One Chicago” universe and beyond, one thing is certain: her performance is for the audience, but her praise is for the Creator.
Stay Connected with Veronica Dillard Smith
Want to keep up with the latest from Mrs. Smith? Follow her journey, watch her performances, and reach out for professional inquiries via the links below:
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Instagram: @veronicadillardsmith
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Facebook: Veronica C. Dillard
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YouTube: Veronica Dillard Official Channel
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All-in-One Hub: Linktree/VeronicaDillard
Booking & Professional Inquiries
Veronica C. Dillard Smith Actor | Voice Over Artist | Comedian | Host | Announcer
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Phone: 312.622.4651
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Email: veronicacdillard@gmail.com
And big news:
Veronica will be co-starring on Episode 10, Season 11 of NBC’s Chicago Med in January 2026!
