In the novel “Empire of Wild” by Cherie Dimaline, a saga unfolds as three generations of women embark on a mission to rescue their loved one from the clutches of the werewolf-like Rogarou. Their quest involves locating a missing husband and safeguarding their territory from corporate encroachment.
Renowned for its raw, alluring, and intense narrative, the book claimed the top spot on Indigo’s 2019 bestseller list, triumphing over acclaimed works like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A significant investment of approximately $4 million has been allocated for an Indigenous-led team to adapt the novel into an opera, set to make its debut in Toronto next spring. This bold move aims to attract a younger demographic and opera novices while potentially challenging traditionalists who favor the classical repertoire.
“Empire of Wild” unfolds in the Penetanguishene Métis community in Georgian Bay, Ontario, Cherie Dimaline’s hometown. Composer Ian Cusson, also hailing from the same locale, resonated with the tale’s Rogarou character from his childhood folklore. He expressed familiarity with the characters and dialect depicted in the book, describing the opera as a platform for contemporary stories to thrive.
The collaborative efforts of Cusson and Dimaline strive to introduce relatable modern characters to contemporary audiences. The opera features diverse elements, including queer characters and a blue-collar family navigating extreme circumstances, flavored with colloquial language and humor.
Elisabeth St-Gelais, portraying the lead role of Joan, identifies with the character’s flawed nature and complexities, offering a connection point for younger audiences. The narrative delves into themes of power dynamics, resistance, and resilience, encapsulating a tale of intergenerational strength and matrilineal support.
The artistic ensemble, comprising talents like Marion Newman and Evan Korbut, embodies a diverse range of characters, infusing authenticity and truth into the narrative. The opera’s essence reflects concepts of “survivance,” symbolizing Indigenous perseverance and cultural evolution in the face of historical challenges.
This groundbreaking opera, steered by Indigenous visionaries, embraces inclusivity and equality in the creative process. The collaborative circle of artists, led by figures like Jeff Chief and Yvette Nolan, fosters a holistic approach to creation, valuing each contributor’s input as essential to the artistic endeavor.
Ian Cusson envisions this innovative model of collaboration extending beyond this production, advocating for its adoption across the opera landscape. Embracing diversity and inclusion, he believes this approach represents the pinnacle of artistic expression and community engagement.