"Pigeonholing is only interesting to pigeons."
-Jessye Norman

Wes is a Brooklyn based actor, operatic baritone, rock vocalist, and guitarist who was born and raised in Norfolk, Virginia. Television and film work includes supporting and principal roles in Last Moment of ClarityAdulthood, Six Degrees of MurderThe Bhatki Boy, and more

Stage performances include the title roles in Thomas' Hamlet, Rossini's Guillaume Tell, Hannah Before in As One, Marcello in La bohème, Escamillo in La Tragédie de Carmen, Zurga in Les pêcheurs de perles, Belcore in L'elisir d'amore, Ping in Turandot, Billy Bigelow in Carousel, Stanley Kowalski in Previn's A Streetcar Named Desire, Father Flynn in Cuomo and Shanley's Doubt, Curly in Oklahoma! as well as Reinaldo Arenas in the world premiere of Martín and Koch's Before Night Falls and Dax/Larry in the world premiere of Paterson and Cote's Three Way. Both cast recordings are available on iTunes, Amazon, and elsewhere (credited as Wes Mason).

A graduate of the Academy of Vocal Arts in Philadelphia and the University of Michigan, he was presented the Earl V. Moore Award for outstanding contribution to Michigan's School of Music, Theatre, and Dance. Additional studies have included the summer acting intensive at the William Esper Studio under Suzanne Esper and TV/Film acting with Heidi Marshall.

In his spare time, Wes works for his wife and brother-in-law at their media company Remarque Creative.


What people are saying

"Mason delivered a tour de force. Constantly onstage, he sang in a mellow, lustrous baritone while simultaneously acting, running, jumping, and dancing. He looks like Arenas, only handsomer ... 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 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

"As husband John, Robert Wesley Mason deploys his mighty baritone to stunning effect, using interpretive phrasing and nuanced delivery to build a character of confidence and passion who made a smart choice in a dedicated spouse."
-Times Union

"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. 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

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

"Wes 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

"The vocal standout for me is Mason's Marcello, with a gorgeous baritone..."
-Scott Cantrell, Dallas News

"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