Cherie Dimaline’s novel “Empire of Wild” follows the journey of three generations of women as they strive to rescue a family member from the clutches of a werewolf-like creature called the Rogarou. Their mission is to bring back a missing husband and safeguard their territory from corporate interests. The gripping and sensual narrative earned the distinction of being Indigo’s top book of 2019, surpassing renowned titles like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A significant investment of around $4 million is underway to support an Indigenous-led creative team in transforming the book into an opera, with plans for the world premiere scheduled for next spring in Toronto. This bold move aims to attract a younger audience and newcomers to opera, potentially challenging traditionalists who favor the conventional repertoire.
“Empire of Wild” unfolds in the Penetanguishene Métis community in Georgian Bay, Ontario, where author Cherie Dimaline and composer Ian Cusson have roots. Cusson, inspired by the tales his mother shared about the Rogarou, felt a deep connection to the story’s characters and language echoing his upbringing. The duo’s vision for the opera is to present contemporary characters that resonate with modern audiences, including queer individuals and blue-collar families faced with extraordinary circumstances.
The production, described as a “film on steroids,” embraces edgy and horror elements while featuring unconventional language, including swear words and humor. The opera’s lead role, Joan, portrayed by Innu soprano Elisabeth St-Gelais, embodies relatable struggles and flaws that appeal to young viewers.
At its core, “Empire of Wild” delves into themes of power, resistance, and resilience. The narrative revolves around Joan’s quest to reunite with her husband, entwined with elements of old magic and intergenerational support along matrilineal lines. The diverse cast, including Indigenous talents like Marion Newman and Evan Korbut, breathes life into the characters, offering a narrative of survival and cultural resilience.
The opera’s unique approach to storytelling and collaboration, led by Indigenous creators like Cree designer Jeff Chief and Algonquin director Yvette Nolan, emphasizes inclusivity and value for every participant’s contribution. Composer Ian Cusson envisions this inclusive model of creation as a blueprint for future artistic endeavors, advocating for a more equitable and diverse landscape in the world of opera production.