In Cherie Dimaline’s novel “Empire of Wild,” a multigenerational tale unfolds as women strive to rescue a family member from the clutches of a werewolf-like entity known as the Rogarou. Their mission to locate a missing husband and safeguard their territory from corporate encroachment sets the stage for a gritty, alluring, and intense narrative, which garnered the title of Indigo’s top book in 2019, surpassing renowned works like Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
With a significant investment of approximately $4 million, an Indigenous-led team is gearing up to adapt the book into an opera, slated for a world premiere in Toronto next spring. This bold move aims to attract a younger demographic and newcomers to the opera scene, potentially challenging traditionalists loyal to the classic repertoire.
“Empire of Wild” unfolds in the Georgian Bay Métis community of Penetanguishene, Ontario, where Dimaline has roots. Composer Ian Cusson, also hailing from the same region, drew inspiration from his childhood tales of the Rogarou, recognizing familiar elements in Dimaline’s narrative.
The collaborative duo aimed to craft relatable, contemporary characters for modern audiences, including queer individuals and a working-class family navigating extraordinary circumstances. Injecting realism into the story, they incorporated everyday dialogues, complete with profanity and humor, to resonate with diverse audiences.
Elisabeth St-Gelais, an Innu soprano portraying the protagonist Joan, emphasized the story’s universal themes and Joan’s flawed yet relatable coping mechanisms amidst personal turmoil. At its core, “Empire of Wild” delves into themes of power dynamics, resistance, and resilience, as Joan grapples with her husband’s mysterious transformation and the looming influence of industrial interests on their community.
Intergenerational wisdom and matrilineal strength play crucial roles in Joan’s journey, rooted in Métis folklore while embodied by a diverse cast, including Indigenous talents like Marion Newman and Evan Korbut. The narrative’s emphasis on survivance, a concept merging survival and resistance, underscores the enduring cultural heritage of Indigenous peoples against colonial pressures.
Led by Indigenous creators like costume designer Jeff Chief and director Yvette Nolan, the opera project symbolizes a pivotal moment of Indigenous empowerment across various societal domains. Embracing a holistic approach to artistic creation, the team fosters an inclusive environment where every individual’s contribution is valued, reflecting a paradigm shift in the opera landscape.
Cusson envisions this collaborative model as a blueprint for future artistic endeavors, advocating for its widespread adoption to foster a more equitable and enriching creative process.
This innovative adaptation of “Empire of Wild” not only promises a riveting opera experience but also serves as a beacon of Indigenous storytelling and artistic empowerment in the modern cultural landscape.