In Cherie Dimaline’s novel “Empire of Wild,” a trio of women from different generations strives to rescue their family member from the clutches of a werewolf-like entity known as the Rogarou. Their quest involves locating a missing husband and safeguarding their territory against corporate encroachment.
Renowned for its raw, provocative, and captivating narrative, “Empire of Wild” was honored as Indigo’s top book of 2019, surpassing popular titles such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
An investment of approximately $4 million has been allocated for an Indigenous-led creative team to adapt the novel into an opera, with plans for the world premiere scheduled in Toronto next spring. This bold move aims to attract a younger demographic and opera newcomers while potentially challenging traditionalists who favor the classical repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where the author Cherie Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, who also originates from the area. Inspired by the familiar folklore of the Rogarou shared by his mother, Cusson found a personal connection to the story’s characters and dialogue.
The collaborative effort between Dimaline and Cusson focuses on crafting relatable, contemporary characters that modern audiences can identify with, featuring elements like queer representation and everyday struggles faced by a working-class family. Their approach includes realistic dialogue, incorporating profanity and humor to enhance the narrative’s authenticity.
Leading the opera adaptation, Innu soprano Elisabeth St-Gelais embodies the protagonist Joan, emphasizing the story’s themes of resilience and familial bonds. Rooted in Métis folklore, “Empire of Wild” delves into intergenerational wisdom and Indigenous storytelling, brought to life by a diverse cast including talents like Marion Newman and Evan Korbut.
The production aims to celebrate Indigenous culture and resilience, showcasing stories that resonate with a wide audience while honoring traditional customs and narratives. Through the concept of “survivance,” Indigenous creators like Cusson and St-Gelais highlight the enduring strength and cultural heritage of Indigenous communities in the face of historical challenges.
With a focus on inclusivity and collaboration, the opera project embraces Indigenous perspectives in every aspect of its creation, involving talents like Cree costume designer Jeff Chief and Algonquin director Yvette Nolan. This approach, characterized by mutual respect and shared creativity, offers a model for future artistic endeavors within the opera industry.
By fostering a diverse and inclusive creative environment, Cusson envisions a paradigm shift in opera production, advocating for a more equitable and collaborative approach to art-making that values every individual’s contribution.
