Aaron Nelson ’12 on Playing Simba, Staying Grounded, and Following the Process

Nelson on stage during a performance of "The Lion King." Photo by Matthew Murphy.Nelson on stage during a performance of "The Lion King." Photo by Matthew Murphy.
Aaron Nelson '12Photo by Matthew Murphy.
“The Lion King” star reflects on his path from the South Loop to Broadway — and how his Arts Management degree helps him balance artistry and leadership.

Broadway actor, Chicago native, and Columbia Arts Management alum Aaron Nelson ’12 made history as the first African American performer — and the first actor outside of a previous company — to play Simba in “The Lion King” on Broadway. Now starring in the national tour, Nelson talks about his Columbia experience, how Chicago shaped his work ethic, and the importance of falling in love with the process.  

What originally drew you to Columbia College Chicago? 
I actually grew up near Columbia — my mom lived on Michigan Avenue, and I was always curious about the campus. What really got me hooked was the High School Summer Institute. I did the recording-based program in 2006, led by Kimo Williams, and had an incredible experience. Kimo even wrote my recommendation letter. So proximity got me interested, but that summer at Columbia showed me how much creative energy lived there. I knew I had to come back. 

You majored in Arts Management at the School of Business and Entrepreneurship. How has that background shaped your career? 
It started as my “fallback” plan, but it turned out to be one of the best choices I made. Having that management perspective helps me understand the logistics behind productions — how things work beyond the stage. Now, in addition to performing, I’m also a fight captain and an emergency stage manager. Having a mind for both the artistic and operational sides of theatre has been invaluable. Columbia really prepared me for that balance. 

Were there particular classes or professors that stood out to you? 
I took full advantage of being able to explore other disciplines. I loved my West African Dance class with Malik Camara, my jazz class, and anything with Kimo Williams. I also took an African American history course that really shifted how I saw the world. 

What makes Columbia unique is the collaboration. You might sit next to a dancer, a sound engineer, or a graphic designer — and the conversations that come out of that are incredible. It reflects what it’s really like to be a creative professional, constantly learning from people in other disciplines. 

What was it like when you found out you had been cast as Simba on Broadway? 
That day is unforgettable. I had just welcomed my first child and was praying it would be Broadway instead of the tour. After multiple auditions and callbacks, I flew to New York for a two-day process. 

On the second day, they brought out the Simba mask. They said, “Try this on.” I did some choreography, and the associate director told me, “You look beautiful. This is great on you.”  

I flew back to Chicago, performed in a play that night, and the next morning got the call — I had booked it. I dropped to the floor crying. It was one of those moments where you just know everything aligned the way it was supposed to. 

How do you prepare physically and mentally for such a demanding role? 
It’s a lot of discipline. I try to eat healthy, stay active, and I recently got into Pilates — which is no joke. But mental health is just as important. I check in with myself through journaling, prayer, and therapy. 

When you’re traveling from city to city, your environment keeps changing, so you have to stay grounded and maintain your core — emotionally and physically. That’s what keeps me balanced and connected to the work. 

What has surprised you most about being part of such a long-running production? 
The show is alive. People assume “The Lion King” has been the same since 1997, but there’s constant evolution — choreography tweaks, makeup changes, musical updates. That attention to detail keeps it fresh and exciting. 

You’ve said that Chicago shaped your identity as an artist. How so? 
Chicago is a blue-collar city, and that work ethic sticks with you. People here take pride in the work itself — not just the final product. That’s shaped my career. Being a Chicago artist taught me to love the process — to focus on collaboration, discipline, and craft. It’s not about the product; it’s about the pride in doing the work. That’s something I carry with me everywhere I go. 

What advice would you give to current Columbia students or young artists in Chicago? 
Fall in love with the process. Don’t get caught up in how the finished product looks on social media. The magic happens in the work — in the “how” and the “why.” When you fall in love with the process, the results will surprise you beyond your imagination. 

What’s next for you? 
I’d love to do more theatre — maybe some Shakespeare or August Wilson. I’d also like to explore more film and TV work. Ultimately, as long as I’m acting and connecting with people through storytelling, I’m doing what I’m meant to do. 

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