Myths and stereotypes in performances set in Cornwall

2nd July 20263rd July 2026
by Museum of Cornish Life

Research volunteer Margaret Ray explores Cornish myths, realities and stereotypes as they have appeared in operetta and opera over time from 18th-century No Song, No Supper to Celtic-themed 20th-century Iernin.

Why was Cornwall chosen as a location for these operettas and operas? The image of Cornwall as a sleepy, remote and inward-looking county with little contact with the rest of the country persisted yet did not reflect the reality. Those who visited particularly from the mid-18^th century onwards would have found a county which certainly had deprivation but was thriving in many ways. Many of these operettas were toured and performed in Cornwall as well. What might Cornish audiences have thought?

The sea: Myth and reality

Cornwall’s maritime activity, especially fishing and ferrying, was a keystone in Cornwall’s early growth leading to the establishment of many harbours and highways. Unlike the later ‘outsider’ image of Cornwall as a sleepy place where not much industry occurred, the reality was that Cornwall had many ports and developed a transatlantic trade. Tin was exported from the 11^th century resulting in the growth of trading ports including Penzance, St Ives, Truro, Penryn, Falmouth and Saltash.

In the 16^th and 17^th centuries trade with the “New World” was of great importance. In the 18^th century inland waterways were developed linking the sea to a navigable river. Mining products such as tin, copper, granite, china clay and slate together with fish and agricultural goods were exported and coal, timber, salt and other goods were shipped into Cornwall. As the industrial revolution progressed Cornwall strived to satisfy the demand for raw materials. Associated industries such as shipbuilding and foundries producing mining equipment were developed. Cornwall was known and respected for its produce and its industries.

Large wooden boat with masts and rig but sales down — Spanish replica 16th-century galleon *Andalucía* visiting Penzance Harbour, June 2025.

Smuggling and wrecking: Myth and reality

Whilst smuggling had a romanticised image the reality for many was that smuggling became an economic necessity if they and their communities were to survive. The imposition of the Salt Duty in the 17^th century until the early 19^th century resulted in its importation into more remote villages where it was not declared for taxation. Imported salt was used to cure pilchards which were a mainstay of both the local diet and the export trade. Other high taxed goods such as tea, tobacco and brandy followed and were sold to the local population under the guise of ‘free trading. Wrecking, where goods were salvaged from shipwrecks, had been legal in Cornish coastal communities but had led to disputes between locals, landowners and ship owners. Most wreckers were opportunistic salvagers taking the chance to recover goods and did not lure ships onto the rocks using false lights although those people did exist but not as many as literature suggested.

Piracy: Myth and reality

This was a real threat to Cornwall from the Middle Ages. Its coves, inlets, remoteness from authority made it ideal for piracy as well as smuggling. Barbary pirates (corsairs) based in Tunis, Algiers and Tripoli captured slaves for Arab slave markets in North Africa. It was estimated that approximately 60 ships prowled the Devon and Cornwall coast in the 17^thcentury mounting frequent raids and enslaving people. The power of the Barbary pirates was broken in the 19^th century following wars with Algiers. The swashbuckling pirate character so central to nautical storytelling was almost entirely fictional, however the actions of privateers hired by the government to capture enemy merchant ships plying a global trade in the age of empires may have been the basis for many pirate characters.

Poster, hand drawn and painted of the pirates of penzance in 1881 with a fictitious pirate wearing a black hat, red jacket and white and striped pleated skirt and blue stockings, pointing into the distance. — D’Oyly Carte’s Opera Company poster, 1881.

Storytelling or droll telling: Myth and reality

Different Cornish communities maintained a tradition of storytelling or ‘droll telling’ with visiting storytellers recounting supernatural tales and superstitions which persist even now. Visitors heard tales of ghostly sailors haunting the waters, church bells ringing where no church stands or knockers and buccas haunting mines warning miners of impending collapse. Piskies were said to haunt the moors teasing, dancing and laughing whereas people who danced on the Sabbath were turned into stone circles. Witches, pellars and cunning people all populated the landscape; the witch often seen as harmful whereas the remedies and charms of the pillar or cunning person were helpful. The perpetuation of these stories in popular books created an image of a Cornwall abounding in myths and legends.

Wesleyan Methodism: Myth and reality

John Wesley is credited as the founder of Methodism, a form of Christianity which promoted holiness of heart and life. Established in the 18^th century as a part of the Church of England it had hoped to improve accessibility to all, but Methodism soon became a religion apart. Wesley advocated social justice, the rights of those who were less fortunate, and those who worked in dangerous occupations such as mining, fishing and farming. He preached about the rights of slaves and established literacy and health schemes. His message was simple: truly love God and receive salvation. This offered comfort and hope to many. His method of open-air preaching or meeting in barns or cottages suited Cornwall’s rural and isolated populations. Local Church of England vicars encouraged people to attack Wesley and his brother Charles when they preached but to no avail as Methodism was widely adopted and retains an important role in many Cornish communities. The Methodist minister as a figurehead was a target for lampooning or depicting in less than flattering ways.

Operetta plots and themes

1. No Song, No Supper, 1790

Composer Stephen Storace, libretto by Prince Hoare. First premiered 1790 at Drury Lane Theatre. The most continuously successful of Storace’s works through the 19th century. Toured the UK and USA.

Plot

Comic. Frederick and Robin are a pair of sailors in love with Louisa and Margaretta. The couples have been separated as the result of a plot by a lawyer who is trying to relieve Dorothy (Louisa’s stepmother) of her money. The sailors have been shipwrecked and land on the shore in Cornwall and retrieve some treasure from the wreck, and return to claim their lovers. Margaretta interrupts the lawyer’s attempt at seducing Dorothy by singing a series of ballads. The men discover the lawyer in hiding and throw him out.

Themes

The sea, shipwreck not far from Penzance (the only mention of a Cornish place). Lost loves reunited. Female characters: one wouldn’t marry for money, one wouldn’t marry into further poverty. Use of disguises. Coincidence: shipwrecked near farm where sweetheart lives, another sweetheart reduced to begging at same farm. Scheming lawyer later discovered. An impoverished farmer. Recovery of gold from shipwreck. Happy ending.

Performances in Cornwall reported in newspapers

November 1804. New theatre in Falmouth. Attended by the ‘whole of the North Devon Band’. December 1825? Truro. Little information, just a mention. Company not mentioned. September 1841 at The Theatre Corn Exchange? Penzance for the benefit of the manager, Mr Howard Johnston at the end of the season. House was crammed. March 1846 The Theatre, Public Hall, Prince’s Street Penzance. ‘Mr Doel’s personation of Nelly was the best bit of low comedy we ever witnessed and drew forth repeated applause’ Mr Doel was the manager. Company not mentioned. Likely to be James Doel, who often took the female role and who had established theatre managing theatres at Devonport, Plymouth, Torquay, Teignmouth, Barnstaple, as well as appearing in London.

The performances were brought to a close by what might be called a melo-dramatic farce, entitled No Song, no Supper. Of course, after such a piece as Lucia di Lammermoor it was well to give something very light, but No Song, no Supper had just rather much of that quality in it. The piece was quite a stupid performance, without even a good song or chorus as a relief to its stupidity.’ Dundee Courier, 22 March 1870.

Black and white still photograph of theatrical performers — Wagner – Tristan und Isolde, act I – Isolde: “So, this, then, is the end! Tristan, farewell!” (The Victrola Book of the Opera: Stories of One Hundred and Twenty Operas with Seven-Hundred Illustrations and Descriptions of Twelve-hundred Victor opera records (1917).

2. Tristan and Isolde, 1865

Based on medieval romance dating from 12^th century. Cornish knight Tristan escorts Irish princess Isolde (also Iseult) to Cornwall to marry his uncle King Mark of Cornwall (an alleged 6^th century ‘King of Cornwall’) but they fall in love. In 1865 Richard Wagner’s opera Tristan and Isolde was first performed. Many variations of the story exist and an 8-foot standing stone called the Tristan Stone is situated just outside Fowey in mid-Cornwall with the inscription ‘DRUSTANS HIC IACET CUNOMORI FILIUS’, which means “Here lies Drustanus, the son of Cunomorus.”

3. The Pirates of Penzance, 1879

Gilbert and Sullivan. The first night was held at The Royal Bijou theatre Paignton prior to opening night in New York. London premiere on 3 April 1880.

Thought to have been partly inspired by The Pirates 1792, an opera by Storace. However, this was set in Naples and was based on The Comedy of Errors. The grande finale was an imitation of Mozart.

“Well, my readers will say, what has the town done to warrant such a slander on its escutcheon? But I would reply-What’s in a name; for beyond the title, Penzance is not spoken of, nor can the Cornish scenes portrayed on the stage be attributed to Mount’s Bay…certainly there is nothing in the piece to which the most austere cleric could object..A Word of advice to all excursionists and visitors to London..Go to the Opera Comique in the Strand and see The Pirates of Penzance” The Cornishman, 10 June 1880 reviewing Pirates of Penzance in London.

Plot

Pirate King declares that piracy is comparatively honest. All the pirates are orphans and allow anyone who is an orphan to be released… therefore captured ships’ companies all claim to be orphans. The pirates are revealed to be noblemen shirking their responsibilities. Penzance was chosen to play on the word pirates which itself was a satirical dig at the theatrical pirates who had staged unlicenced productions of HMS Pinafore prior to the release of Pirates of Penzance in 1879.

Themes

Beyond the name this is no further reference to Penzance. Coastal piracy and raids of Penzance and the surrounding coast had ceased by the time Pirates of Penzance was composed. Outsiders would have known Penzance more as a seaside resort. The romanticised image of the swashbuckling romantic pirate abounded in plays and literature in the 19^th century. Robinson Crusoe, Treasure Island, Walter Scott’s The Pirate (1822) and James Fennimore Cooper The Red Rover. G&S had also parodied those ideas early in their careers in different works.

Performances in Cornwall

D’Oyly Carte Opera Company, March 1881. The County Theatre, Truro, 1931. Performed now and again in Cornwall since.

4. Ruddigore, 1887.

Gilbert and Sullivan.

Plot

Comic. Set in fictional Rederring, Cornwall. Remote fishing hub with manor house. Superstitions, wild sea. Set at the edge of the world to evoke an otherworldly feeling. Sir Despard Murgatroyd inherited a family curse-has to commit a crime every day which he hates and spends the rest of the day atoning. His elder brother, thought dead, is alive and forced to take on the curse. His crimes are so pathetic that his ancestors return from the dead to haunt him. The hero and villain swop, virtuous maids swap lovers, happy ending.

Themes

Some aspects of the music were heavily inspired by Wagner’s 1865 Tristan and Isolde also set in Cornwall, Act 2 “When the night Wind Howls”. Cornwall was becoming a popular tourist destination fuelled by easy access by railway. City dwellers unused to remoteness and close-knit communities. Fishing village, superstition, ghosts, wild sea, wary locals, Gothic movement, love affairs-complicated.

Performances in Cornwall

1926 by Truro amateur operatic and dramatic society at City Hall. 2012 at The Minack.

5. The Wreckers, 1906.

Dame Ethel Smyth.

Took 5 years before it was performed. It was premiered in 1906 in Leipzig, retitled Strandrecht but Smyth was unhappy with the cuts despite critical acclaim, and removed the score and all the parts from the orchestra pit.

Plot

Set in a Cornish fishing village where everyone seems to be involved in wrecking except Mark who lights warning beacons. Villagers are encouraged by the preacher to continue wrecking–whatever the ocean delivers is a gift from God. The preacher is suspected of lighting the warning bonfires, and is brought before an impromptu court. However, Mark, who is in love with the preacher’s wife, confesses and he and the wife are chained in a cave to await the tide.

Themes

Inspired by a walking holiday in Cornwall and Scilly in 1886, followed by additional visits to areas interviewing people who had memories of the wreckers. Passed notes to Henry Brewster who was raised in France, wrote a French libretto for “Les Naufreageurs” as he thought there was a better chance of the work being produced there. Brewster and Smyth had close relationship and wanted a three-way relationship including Brewster’s wife who refused). Fishing village, wrecking, religion, Wesleyan preacher, belief in witchcraft, wild sea, love affairs/ jealousy, dislike of incomers, All characters believe what they are doing is right. (maybe as Smyth, Brewster and his wife all believed that they were acting correctly).

Performances in Cornwall

In 1909 an English version premiered, prepared By Ethel Smyth. Cornish productions not until 2006 at the Hall for Cornwall, centenary production.

6. Iernin, 1934

Music by George Lloyd, libretto by William A. C. Lloyd. Father and son.

Background

Unlike the operettas and operas above, Iernin was created in Cornwall by the father-son duo. The Lloyds lived in Penzance. It originated from a late-night conversation his father, William, had with a friend on their return from a visit to Covent Garden, London. The friend, Penzance’s amateur impresario, Walter Barnes, proposed a Cornish opera: “You write it, I’ll put it on”. Four days later the father came up with a libretto. George, a 19-year-old wrote the music and the opera was completed within a year. By coincidence Frank Howes, The Times critic, taking his holidays in Cornwall, attended the première at The Pavilion, Penzance on 5 to 10 November 1934, and loved it. A London season followed in 1935, playing to enthusiastic houses at The Lyceum theatre and defeated only by the heat-wave which emptied the theatres that summer. Post war, Romanticism dropped out of fashion and the opera was not performed until 1985 when a recording was made and released.

A story told about Mr Lloyd in the late 1980s suggests the extent of the popularity that his works had achieved.

When Tower Records opened its outlet in London, Mr Lloyd wandered into its classical department and heard one of his works on the sound system. Surprised, he walked to the counter and asked a salesman, who was dressed in punk fashion with orange spiked hair and a nose ring, what was playing. ‘Why sir,’ the salesman said, ‘it’s your Fifth Symphony’. He died in 1998.

Plot

Iernin was inspired by the legend of the Nine Maidens stone circle near Penzance. It tells the story of nine maidens or faeries who were, turned to stone by puritanical priests because of their licentious behaviour. Iernin reawakens hundreds of years later and ensnares the heart of a betrothed Cornish nobleman. Eventually Iernin returns to stone and her lover marries his betrothed.

It is set against the backdrop of a soon to be occupied Cornwall and highlights the struggle of its leader and people to retain their independence from the Saxon overlords. Written during the rise of German National Socialism and alongside the abdication of Edward VIII, the story coincides with dramatic periods in British history.

Themes

Celtic legend, love story, Cornish landscape, Cornish struggles to maintain independence, fear of change, defence of the weak, woman as the temptress.

By Margaret Ray.