Actor | Musician | Storyteller
Passion. Rhythm. Storytelling. My artistry blends the grit of the streets with the smoothness of jazz and the soul of R&B. Every role I take, every note I play—it's all about creating a vibe that lingers.
Born and raised in Fort Worth, Texas, my journey has always been about movement—through music, through storytelling, through life. The stage is where I breathe. Whether I’m stepping into the shoes of Toledo in August Wilson’s "Ma Rainey's Black Bottom" or bringing the world of "Fences" and "Three Penny Opera" to life, my performances aren’t just about the lines—I give them weight, history, and a rhythm that’s unmistakably mine.
Theater has been my home, from the powerhouse productions of The St. Louis Black Rep, where I performed in Melda Beaty’s celebrated "Coconut Cake," to the historic Arrow Rock Lyceum Theatre, where I’ve embodied roles in "Elvis the Musical" and "A Christmas Carol." Every production, every stage, every audience feeds the fire that keeps me pushing boundaries.
But my artistry doesn’t stop at acting. Music pulses through everything I do. As a musician, producer, and songwriter, I’ve worked with legends like Diane Warren, co-produced alongside Vassal Benford at Vaz Entertainment/Motown, and helped shape the sound of artists like Toni Braxton, Bell Biv DeVoe, Surface, and Jade. Sound is storytelling, and whether I’m behind the mic, behind the board, or behind the keys, I’m crafting something that lasts.
HOLLOWAY from TWO TRAINS RUNNING: Holloway is an old head, sharp as a tack and never shy about speaking his mind at Memphis Lee’s diner in Two Trains Running. He’s the kind of man who’s seen it all, called it how it is, and ain’t got time for sugarcoating. He’s the play’s conscience, always dropping knowledge about race, power, and the raw deal Black folks keep getting in 1960s America. Holloway don’t trust the system, don’t put stock in politicians, and sure as hell don’t have patience for the folks who think playing by the rules will set them free. He’s fed up with the way Black people are treated in Pittsburgh’s Hill District and ain’t afraid to let everybody know it.
Richard E. Harris recently starred as Joe in Coconut Cake, an award-winning play by Melda Beaty, presented by The Black Rep at Washington University’s A.E. Hotchner Studio Theatre in St. Louis. Directed by Geovonday Jones, the production received critical acclaim for its humor, depth, and powerhouse performances.
With its sharp dialogue, emotional depth, and powerful performances, Coconut Cake proved to be a must-see theatrical experience, and Harris’ portrayal of Joe was a standout highlight of the production.
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