Oceanborn was composed on Morgan’s winter break, on Mhairi’s living room floor, which they later revisited to record the demos during a week-long power-outage. Mhairi and Morgan wrote the sheet music and script respectively so they could do a reading when they next visited. More songs were written, even more deleted, and Morgan’s college room possessed a closet that birthed the new demos due to its propensity for cosines and lack of white noise.
Oceanborn follows two young women as they face the pressures and expectations of future leadership in a climate of violence and uncertainty. Eira, a Viking warrior and next Chief of her tribe, struggling to overcome the prejudice against female leaders in her culture. Finn, the daughter of a Celtic fisherman, wishes desperately to escape the pressures of leadership to wander the world. When a failed raid leaves Eira abandoned, assumed dead, on her shore, Finn is face-to-face with the violent narrative that killed her parents. As an unlikely friendship blossoms between these two young women, wicked ministrations by the trickster god Gideon bring about a series of violent events.
This musical tackles the cyclic nature of violence, xenophobia, misogyny, and cultural isolationism head on. These themes are as familiar to modern audiences as to the Celts and Vikings of 900 AD. Audiences will appreciate the broad influences of the score (celtic rock, pop musicals, and folk) set to its acerbic political commentary.
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