When Jason Weaver arrived at his middle school in Chicago wearing a sweatshirt emblazoned with “The Lion King” logo in 1993, his classmates sneered. The apparel had been a gift from Disney when Weaver recorded the singing voice of young Simba, but the blockbuster animated film had yet to be released.
“They were like, ‘What the hell is ‘The Lion King’?” Weaver, 44, recalled in a recent video interview. “They didn’t believe in any way shape or form I would be involved with a Disney film — not a kid from the South Side.”
Until then, Weaver had mostly done print and commercial work in Chicago. He’d landed a small role in the civil rights drama “The Long Walk Home” and played a young Michael Jackson in the ABC mini-series “The Jacksons: An American Dream.” But for kids, a Disney theatrical movie was on another level.
During an hour-and-a-half “Lion King” recording session in 1992, Weaver, who was turning 13, had sung the lead vocals for “I Just Can’t Wait to Be King,” the braggadocious anthem belted by the lion cub Simba as he fantasizes about inheriting the pridelands from his father, Mufasa.
Opening in June 1994, “The Lion King” would go on to become the highest grossing traditionally animated film of all time. Its soundtrack eventually sold more than 7 million copies, and “I Just Can’t Wait to Be King” was certified double platinum.
According to Weaver, his mother, Marilyn “Kitty” Haywood — a former jingle singer and recording artist who worked with Aretha Franklin and Curtis Mayfield — turned down Disney’s initial offer and negotiated a lower upfront fee in exchange for lucrative royalties for her son.
But even after the success of “The Lion King,” few realized that Weaver was involved. Jonathan Taylor Thomas, the floppy-haired tween superstar known for “Home Improvement” and family films, had provided young Simba’s speaking voice and was heavily featured in the film’s promotion, so many assumed Thomas also sang.
(Disney likewise split the adult Simba role: Matthew Broderick spoke, while the Toto frontman Joseph Williams sang.)
Weaver went on to co-star in the sitcom “Smart Guy,” sing on Chingy’s 2004 hit “One Call Away” and steadily work in film and TV. But it wasn’t until the last few years, Weaver said, that he began to receive more recognition for his “Lion King” role.
Disney is also keeping the fanfare around the film alive: In May, the studio filmed an anniversary concert, featuring Weaver and some of the other original voice actors, that will stream on Disney+. It has also announced a July theatrical rerelease of the original film, and a new live-action prequel, “Mufasa: The Lion King,” will premiere in December.
Weaver’s eyes sparkled behind thick-rimmed glasses as he spoke from Chicago, where he’s currently shooting the Showtime drama “The Chi.” As an adult, Weaver said, he has a new appreciation for his part in the Disney classic.
These are edited excerpts from our conversation.
How did singing for young Simba come about?
I was filming “The Jacksons” mini-series, and throughout the production, there would always be big artists that stopped by the set because they were friends of the Jacksons or were just curious. On this particular day, I was singing “Who’s Lovin’ You,” and Elton John [who co-wrote “The Lion King” songs with Tim Rice] stopped by. He saw me performing live and approached my mom. They wanted the Simba singing voice to have a young Michael Jackson vibe, and I was able to get an audition the day after we wrapped “The Jacksons.”
What was the recording process like?
It was simply supposed to be an audition. I was just going in to see if they would even consider me for the role. But [directors] Rob Minkoff and Roger Allers were there, and the producer Don Hahn. When I came into the Burbank recording studio, they had storyboards with basic artwork sketched in pencil showing what Simba looked like. And they said, “When you go into the booth, we’re going to have cameras set up to capture your actions because if we like what you’re doing, we may put it into the character’s animation.”
When the music came on, I just felt so comfortable. There was energy in the room, and it felt good. I sang “I Just Can’t Wait to Be King” like two times, and Roger said, “Well, you got the job.” I had to finish all of the recording that day because I was scheduled to come back to Chicago on a red eye. So, I also sang part of “Hakuna Matata,” and then I did another song that never made the film called “Warthog Rhapsody.”
After we finished all those recordings, Roger asked me, “Hey, do you want to audition for the speaking voice?”
So, they hadn’t cast Jonathan Taylor Thomas at that point?
They were waiting to find out if the deal was closed with J.T.T. Sure enough, after I read some lines, they came back to me five or 10 minutes later and said they’d just closed the deal with him.
Is your audio from that audition what ended up in the movie?
Yes, the session that got me the job is the session that was used. To our credit, me and my mom really prepared for that. We worked a lot on “I Just Can’t Wait to Be King” vocally to make sure that when I went into the studio, I was able to execute it thoroughly.
Did you get to go to “The Lion King” premiere?
No, it was different back then. Disney was really focusing on the big-name stars they had attached to the voices. So, a lot of the attention was centered around Jonathan Taylor Thomas, Matthew Broderick, Jeremy Irons, James Earl Jones, Whoopi Goldberg — and rightfully so. They were huge stars, and that’s who they wanted at the forefront helping promote the film.
Did “The Lion King” open doors for you professionally after its release?
No. It wasn’t something that I led with when submitting myself for roles or trying to garner other opportunities. My thing was, if Disney wasn’t going hard to make people aware of it, I didn’t want to seem like I was just trying to attach myself to something.
North West, the daughter of Kim Kardashian and Kanye West, recently sang “I Just Can’t Wait to Be King” at the anniversary concert at the Hollywood Bowl. What did you think of her performance?
Performing in front of 18,000 people for the very first time as a 10-year-old child? [She’s now 11.] I thought she did a fantastic job. Regardless of any criticism, any time a child is given an opportunity to shine, we, as adults, should always rally behind them. That was her moment, whether her mother or father helped her get it, and she stepped into it courageously.
Were there discussions about you singing it instead?
No. I can’t do it anymore vocally. I still have a high speaking voice, but “I Just Can’t Wait to Be King” was challenging to execute even when I was a kid. I think they also wanted to provide an opportunity for another young performer to make their way into the “Lion King” legacy.
What does your life look like now?
I’ve been living in Atlanta for the past 24 years. That’s where I raised my son. I shoot “The Chi” in Chicago. I’m also a classically trained chef. I graduated from culinary school in 2009, and to this day, cooking is very therapeutic for me. Whenever I feel like I’ve hit a low in my career, I step in the kitchen, and I prepare a meal for my friends and family. It feels as if I’m offering them a film or a song that I’ve created. It’s the same kind of feeling.
Have the royalties your mom negotiated for “The Lion King” earned you more than that original offer over the years?
Oh, I’m sure. There are checks that come from that film multiple times a year, depending upon the level of engagement happening in the marketplace or what kind of ancillary thing Disney is doing with “The Lion King.” Even when they do the ice shows or the music plays in hotels, all of that stuff tallies up.
Have you noticed a shift in people recognizing your “Lion King” work? TikTok is full of fans excitedly learning about your role.
Just recently. That’s gratifying. That warms my heart. That makes me feel very proud. But it’s never been about that. I don’t care if you’re paying attention to me, just as long as the work is good.
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