In the novel “Empire of Wild” by Cherie Dimaline, a trio of women spanning three generations grapple with freeing their loved one from the clutches of the werewolf-like Rogarou. Their mission is to rescue a missing husband and safeguard their territory from corporate intrusions. This narrative, filled with grit, sensuality, and drama, was hailed as the top book of 2019 by Indigo, surpassing renowned titles such as “The Testaments” by Margaret Atwood and “Daisy Jones & The Six” by Taylor Jenkins Reid.
A substantial investment of approximately $4 million is now allocated for an Indigenous-led creative team to adapt the book into an opera. The world premiere is set to take place in Toronto next spring, aiming to attract a younger audience and opera novices while possibly challenging traditionalists who prefer the established repertoire.
The setting of “Empire of Wild” unfolds in the Penetanguishene Métis community in Georgian Bay, Ontario, Cherie Dimaline’s hometown. Composer Ian Cusson, also from this locale, recognized elements of the Rogarou from tales his mother shared when he read the book. Speaking with CBC News during the music rehearsals, Cusson emphasized the importance of creating a space for contemporary stories like this opera to thrive.
Ian Cusson and Cherie Dimaline aimed to craft relatable characters for modern audiences in “Empire of Wild.” The narrative features diverse characters, including queer individuals and a blue-collar family navigating challenging situations. Cusson described the production as a heightened cinematic experience, embracing darker, horror-inspired elements that resonate with younger viewers seeking engaging entertainment.
Elisabeth St-Gelais, portraying the lead role of Joan, expressed how the story’s relatable aspects resonate with young audiences. “Empire of Wild” delves into themes of power, resistance, and resilience as Joan confronts her husband’s mysterious disappearance and the encroachment of industrial interests on her land. The narrative underscores the significance of intergenerational support along strong matrilineal lines, drawing inspiration from Métis folklore.
This opera production boasts a diverse cast, with talents like Marion Newman and Evan Korbut embodying the characters. The Indigenous artists bring authenticity to the roles, showcasing a collective truth of resilience and survival that transcends individual experiences. The story’s concept of “survivance” symbolizes Indigenous perseverance amid cultural challenges and colonial legacies.
Led by Indigenous creators, “Empire of Wild” offers a unique perspective on storytelling and artistic collaboration. The creative team includes Cree costume designer Jeff Chief and Algonquin director Yvette Nolan, fostering an inclusive and egalitarian approach to artistry. Ian Cusson advocates for this inclusive model of creation to be adopted widely in the opera world, emphasizing the value of every contributor in the artistic process.