Long before he was writing dark, supernatural television inspired by Stephen King, Kane was a teenager growing up in New York City, working in commercials and preparing to leave acting behind for good. His dream was film school, not voice acting. He had just been accepted into New York University’s film program and was focused on studying movies and playing in his grunge band.
That’s why an audition for Aladdin barely registered with him at the time. Kane initially met legendary composer Alan Menken and lyricist Howard Ashman while still in high school. He sang a song that was later cut from the movie and then moved on with his life, assuming nothing would come of it.
Months later, after starting college and fully embracing the grunge scene, Kane got an unexpected call from his mother. Menken wanted him to return to New York to sing with Lea Salonga, who would voice Princess Jasmine. Kane was reluctant, but he went. After a single run-through of “A Whole New World,” he left again — and soon after learned he had been chosen as Aladdin’s singing voice.
At the time, Kane wasn’t especially excited. Disney’s so-called Renaissance hadn’t fully taken shape yet. The Little Mermaid had been released, and Beauty and the Beast was on the way, but Aladdin hadn’t yet become the cultural phenomenon it is today. Kane recorded just a handful of sessions while Scott Weinger handled the speaking voice.
Looking back now, his feelings have completely changed. Kane says the film has become a meaningful legacy, especially for his children, and something he’s proud to have been part of. He also treasures having worked with Ashman, who died in 1991 from AIDS-related complications. Kane remembers Ashman as kind, brilliant, and deeply influential — someone whose impact on musical storytelling only grew with time.
After Aladdin and its animated sequels, Kane stepped away from performing and built a successful career behind the scenes. He went on to write and produce acclaimed series such as Fringe, Black Sails, and Tokyo Vice. Today, he’s helping expand Stephen King’s universe with It: Welcome to Derry and the upcoming Crystal Lake.
For Kane, the journey from singing animated classics to creating dark television drama wasn’t planned — but it’s one he now looks back on fondly.
“It’s a nice thing to know that’s part of what I leave behind,” he says. “It gives me a good, warm glow.”
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