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Wes Mason

Actor Singer

 

Who am I?

I am a Brooklyn based actor of stage and screen, guitarist, rock vocalist, and operatic baritone who was born and raised in Norfolk, Virginia.

Some of my previous roles have included Billy Bigelow in Carousel, Curly in Oklahoma!, Stanley Kowalski in A Streetcar Named Desire, Father Flynn in Doubt,  the title roles in Eugene OneginHamlet, and William Tell, as well as Reinaldo Arenas in the world premiere of Before Night Falls and Dax/Larry in the world premiere of Three Way (both premiere recordings are available on iTunes and Amazon).

I graduated from the Academy of Vocal Arts in Philadelphia and the University of Michigan where I was presented the Earl V. Moore Award for outstanding contribution to the School of Music, Theatre, and Dance. Additionally, I studied at the William Esper Studio under Suzanne Esper for their summer acting intensive.

If you are an actor or singer in need of coaching, demos, audition recordings, or website design, feel free to reach me here: wesmasonstage@gmail.com I collaborate often with my wife Heather La Kor's company Remarque Creative and would be more than happy to lend you a hand.

What people are saying

"His kind of talent is destined for a very, very busy career--in opera, movies, God knows."
-William V. Madison, author of Madeline Khan: Being the Music, A Life.

"A gifted and fiercely committed baritone whose voice is spacious and reverberant."
-Opera News

“Wes Mason has the vocal and dramatic chops for the eponymous hero. Virile, handsome, energetic, he played Hamlet as more madcap than melancholic. This was a performance to remember.”
-Willard Spiegelman, Opera News

 "Wes Mason has a gorgeous baritone, and great French."
-Scott Cantrell, Dallas Morning News

"Mason’s resonant baritone conveys the uncontrolled physicality with which Stanley faces his world."
-Kathi E.B. Ellis, Arts-Louisville.com

"Wes Mason is perfectly cast as Father Flynn. He's handsome and he brings a beautiful, expressive baritone voice to the role. Mason fills the priest with energy and a convincing sincerity. "
-Steve Callahan, Broadway World

"Wes Mason's virile baritone brought power and sex appeal to his lovable, puppy dog take on Marcello..."
-Michael Duzer, Stagehappenings.com

"Baritone Wes Mason looked good and sang well as Billy, bringing complexity, charm, solid vocal technique and washboard abs to the role; it's easy to see why both the mill girls and his employer, Mrs. Mullin, would fall for him, and he gave a masterfully nuanced account of Billy's Soliloquy."
-Sarah Bryan Miller, St. Louis-Dispatch

"...handsome, tough, always ready for a fight -- and all the girls are simply drooling over him. Wes Mason, who did such fine work as Fr. Flynn in last season's Doubt, triumphs as Billy. He's physically perfect for the role and his voice is rich, clear and strong, seeming to grow in endless power when it rises to those highest notes. His 'Soliloquy,' where he sings his macho anticipation of being a father is a highlight of the evening. "
-Steve Callahan, KDHX

"When baritone Wes Mason opened Rodgers and Hammerstein’s Oklahoma! singing, "There’s a bright golden haze on the meadow," somewhere in the heavens, Gordon McRae must have fallen off his horse. Mason’s incomparable vocals and endearing characterization stoked but didn’t dominate the gifted cast." 
-Robert Coleman, The Salt Lake Tribune


ENGAGEMENTs And awards

Wes has performed at the Dorothy Chandler Pavilion in Los Angeles, the IRT Theater and Merkin Concert Hall in Manhattan, The Brooklyn Academy of Music as well as recorded at Ocean Way Studios in NashvilleSome previous company engagements include American Opera Projects, Baltimore Concert Opera, Dallas Opera, Fort Worth Opera, The Glimmerglass Festival, Gulfshore Opera, Hawaii Opera Theatre, Kentucky Opera, Michigan Opera Theatre, Nashville Opera, Opera Delaware, Opera Hong Kong, Opera Philadelphia, Opera Naples, Utah Festival Opera & Musical Theater, and Virginia Opera, to name a few. I have been a finalist in the Opera Index Competition and received awards from The Sullivan Foundation, The Loren L. Zachary Society and the Metropolitan Opera National Council.