In the novel “Empire of Wild” by Cherie Dimaline, a saga unfolds as 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.
Noteworthy for its raw, alluring, and intense narrative, “Empire of Wild” secured the top spot as Indigo’s best book of 2019, surpassing renowned works such as Margaret Atwood’s “The Testaments” and Taylor Jenkins Reid’s “Daisy Jones & The Six.”
A substantial investment of around $4 million is underway to support an Indigenous-led creative team in adapting the book into an opera, with plans for the world premiere in Toronto next spring. This bold venture aims to attract a younger audience and opera novices while potentially challenging traditionalists who favor the classic repertoire.
Set in the Georgian Bay Métis community of Penetanguishene, Ontario, where author Cherie Dimaline hails from, “Empire of Wild” resonates deeply with composer Ian Cusson, also a native of the area. Cusson, who recognized the Rogarou from his childhood tales, emphasized the importance of presenting contemporary characters that modern audiences can relate to, including queer individuals and blue-collar families facing extraordinary circumstances.
The opera is envisioned as a dynamic production, described by Cusson as a “film on steroids,” blending elements of horror with a resonant narrative that appeals to younger audiences seeking engaging entertainment.
The story’s central themes of power, resistance, and resilience shine through as protagonist Joan navigates a mysterious disappearance and uncovers sinister forces at play. Rich in intergenerational support and rooted in Métis folklore, “Empire of Wild” boasts a diverse cast, featuring talents like Marion Newman and Evan Korbut embodying the characters with authenticity and depth.
The opera’s significance lies in its Indigenous representation, showcasing unique perspectives and narratives that embody themes of survivance and cultural resilience. Led by a team of Indigenous creators, including Cree costume designer Jeff Chief and Algonquin director Yvette Nolan, the production symbolizes a shift towards inclusive and collaborative artistry.
Engaging in a new era of Indigenous creativity and innovation across various fields, including art and science, “Empire of Wild” serves as a testament to the evolving landscape of Indigenous storytelling and artistic expression. This groundbreaking approach to opera creation, characterized by equality of voices and inclusivity, sets a precedent for future artistic endeavors.