In the novel “Empire of Wild” by Cherie Dimaline, a saga unfolds where three generations of women strive to rescue their beloved from the clutches of the werewolf-like Rogarou. Their mission is twofold: to locate a missing husband and safeguard their territory from corporate encroachment.
The narrative, characterized by its raw, alluring, and intense nature, earned the distinction of being named the top book of 2019 by Indigo, surpassing renowned works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
An investment of approximately $4 million is underway to assemble an Indigenous-led creative team to adapt the book into an opera, with plans for the world premiere in Toronto next spring. This bold endeavor aims to attract a younger audience and opera newcomers while potentially challenging traditionalists who uphold the classical repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where author Cherie Dimaline hails from, “Empire of Wild” resonates with composer Ian Cusson, who also originates from the same region. Cusson, reflecting on the familiarity of the characters and language in the book, emphasized the contemporary relevance of the story during a recent workshop session in Toronto.
The opera, co-created by Dimaline and Cusson, introduces modern characters that modern audiences can relate to, featuring diverse elements such as queer personalities and a working-class family navigating extraordinary circumstances. Embracing contemporary dialogue, including profanity and humor, the production promises a dynamic experience akin to an amplified cinematic venture, blending in darker, horror-infused elements.
Elisabeth St-Gelais, a talented Innu soprano portraying the lead role of Joan, finds a deep connection with the story of “Empire of Wild,” recognizing themes that resonate with young viewers. The plot delves into power struggles, resistance, and resilience, following Joan’s quest to reunite with her husband through ancient magic and intergenerational female support.
The opera integrates a diverse cast, including talents like Marion Newman and Evan Korbut, embodying characters inspired by Métis folklore. By infusing Indigenous perspectives into the narrative, Cusson and St-Gelais underscore the themes of resilience and survival that echo throughout the production.
Celebrating the collaborative spirit of Indigenous creators, “Empire of Wild” presents a unique approach to storytelling, emphasizing inclusivity and shared creative ownership. The opera, led by a team that includes Cree designer Jeff Chief and Algonquin director Yvette Nolan, embodies an ethos of collective contribution and equal representation in the artistic process.
Looking ahead, Cusson envisions this model of inclusive creation extending beyond “Empire of Wild,” advocating for its adoption in diverse artistic endeavors. He sees this approach as a transformative practice that fosters a more enriching and equitable artistic landscape across the opera community.