"a performance to remember"
"Pigeonholing is only interesting to pigeons."
Wes is a Brooklyn based operatic baritone, actor, and instrumentalist who was born and raised in Norfolk, Virginia. Television and film work includes supporting and principal roles in Last Moment of Clarity, Adulthood, Six Degrees of Murder, The Bhatki Boy, and more.
In opera Wes has performed as Thomas' Hamlet, Rossini's Guillaume Tell, Zurga in Les pêcheurs de perles, Escamillo in La Tragédie de Carmen, Marcello in La bohème, Belcore in L'elisir d'amore, Ping in Turandot, Hannah Before in Reed, Kaminski, and Campbell's As One, Stanley Kowalski in Previn's A Streetcar Named Desire, Father Flynn in Cuomo and Shanley's Doubt, Billy Bigelow in Carousel, 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 premiere 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
"A gifted and fiercely committed baritone whose voice is spacious and reverberant."
“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."
-Albany 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, Arts-Louisville.com
"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
"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.
"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