© Coleman PhotoGraphix
Wes is an actor, singer, voice over artist, and songwriter whose work thrives at the intersection of raw intensity and fearless storytelling. Born and raised in the navy town of Norfolk, Virginia, and now based in Brooklyn, he brings the grit of an artist forging his own path, the fire of a rock frontman, and the discipline of a classically trained performer to the stage and screen. While he excels in the baritone roles of golden age musical theater, his range extends from gritty contemporary drama to dark comedy and rock-infused musicals, bringing a visceral, commanding presence to every project.
His Off-Broadway debut came in Das Barbecü (On Site Opera), playing more than six different characters in one evening in a track originated by J.K. Simmons for its 1994 world premiere. He also originated the role of Aquilla Quick-Manning in the world premiere of The Execution of Mrs. Cotton (IRT Theater, Spit&Vigor) in his Off-Off Broadway debut.
A fierce advocate for new and genre-defying storytelling, Wes values the development process of original works. He has participated in workshops for:
John Leguizamo and Aaron Gonzalez’s new musical-in-progress, Shesus featuring music by Chicano Batman (29-HR AEA Reading directed by Will Davis)
Heather Christian’s Oratorio for Living Things (Ars Nova)
Jimmy Roberts, Catherine Filloux, and John Daggert’s Welcome to the Big Dipper
Wes is also developing a new music-theater project with Shara Nova of My Brightest Diamond (Illinoise) blending poetry, alternative rock, and theatrical storytelling into an immersive work inspired by the journals and poetry of his late childhood best friend.
© Coleman PhotoGraphix
Some regional theater highlights include:
Carousel (Union Avenue Opera, directed by the late, great Ken Page)
Oklahoma! (Maryland Live Arts, Utah Festival Opera & Musical Theater)
Elvis Costello’s The Juliet Letters (Urban Arias, Signature Theatre in Arlington, VA)
Les Misérables (as Bishop Myriel, Utah Festival Opera & Musical Theater)
As an opera singer, Wes is known for brooding antiheroes and complex, volatile characters. He has taken on Stanley Kowalski in A Streetcar Named Desire (Kentucky Opera), Father Flynn in Doubt (Union Avenue Opera), and the title role in Hamlet (Fort Worth Opera). He has also had the privilege of working with visionary director Anne Bogart in her staging of Bizet’s Carmen (The Glimmerglass Festival).
On screen, in addition to King’s Blade, Wes’s film credits include Last Moment of Clarity and Bhakti Boy, as well as the TV series Six Degrees of Murder and Pretty Bad Girls. He has also lent his voiceover talent to Rob Alicea’s pilot Adulthood.
Wes trained in Meisner technique at the William Esper Studio (Summer intensive with Suzanne Esper) and Chekhov technique with Bethany Caputo (Terry Knickerbocker Studio and privately). He holds a Doctorate of Musical Arts from the University of Michigan and an Artist Diploma from the Academy of Vocal Arts.
Whether leading a musical, shaping a new play, or stepping into a high-stakes screen role, he thrives in characters with edge, soul, and something to say—roles that demand both ferocity and finesse.
Acting Reel
One Second and a Million Miles
The Bridges of Madison County
Run
The Foo Fighters
Soliloquy (Excerpt)
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