Two sets of minute books exist in the care of Aberdare Library, for the period September 1948 – January 1961. The first, donated by D.R. Davies of 78, Cemetery Road, Trecynon, covers the period from Sept. 1948 to March 1955; the second covers the period from April 1955 to 1961. The first is referred to as “Minutes (of the) Trecynon and District Welfare Association and the Coliseum”; the second is referred to as the “Coliseum Theatre Management Commitee (sic) Book”.

Both books open with details of membership of the Management Committees and various sub-committees at the time. The chairman in 1948, representing the miners` members, was Ivor Rees of Mill St., Trecynon. His Vice-chairman, representing the NCB members, was E Bevan of Penybryn St., Aberdare. The Secretary was E.T. Erasmus of Frederick St., Trecynon and the Secretary was W.J. Powell of Bell St., Trecynon. In 1955, the Chairman, representing the NUM members was Emlyn Willams of Bron Haul, Cwmbach. His Vice-chairman was A. Smart, of Holford Tce., Cwmdare, representing the NCB members. The Secretary was the long-serving W.J. Powell, who remained in post until 1960. On April 16th 1960, a presentation dinner was held in his honour at “the Plasdraw Dining Hall, at 9s6d per head”, together with a cheque for £100. (SEE BOOK 2, PAGE 204)

In the immediate post-war years, the Coliseum became, once again, a focus of a whole range of activities and interests. For example the very first minutes for this period refer to consideration of a new opera score, receipt of a cheque from the Welsh National Association of Boys` Clubs, an inquiry from the National Miners` Amateur Boxing Championship, a letter of thanks from the Aberdare British Legion following a recent orchestral concert and an offer from the BBC of extra tickets for a forthcoming ‘Welsh Rarebit’ broadcast. From March 15-20 1948 the first of a series of post-war Drama Festivals was held at the Coliseum, for which D R Davies received the princely sum of £6 -6s (BOOK 1, P 1). Later that month, on Whitsunday, the Coliseum played host to the Aberaman OAP Male choir (P 18). Indeed, many touring companies also viewed the Coliseum as a sought-after venue for performances. The chorus of Covent Garden Opera and the CWS Manchester Band, for example, both expressed an interest in including the Coliseum in their touring itineraries at this time. For one reason or another, the first was accepted but the second rejected. (P 16)

The fact is that the MC was no pushover for those seeking to use the Coliseum`s facilities. When a certain Captain Frost of the Salvation Army applied for permission to make a collection “just outside the main entrance”, he was turned down (P 3). A similar fate awaited the Welsh National Physical Culture Organisation when it sought to include a “boxing item” as part of its Display on April 3rd 1948 (P 6). Similarly an application from Cwmdare Welfare Hall to hold a boxing tournament was turned down unceremoniously. Even a request by E.J. Evans of Trecynon that the MC allow the sale of ice-cream was refused. (P 8) Decorum and probity seem to be the motivating impulses in such matters, as, indeed, might be said of the requirement that members` wives “enter the auditorium by the exit door facing the town, instead of the corridor door leading to the dressing rooms!” (P 1)

However, everything was not exactly sweetness and light even within the MC itself. When Mr. A Smart, himself a member of the committee, sought to return his allotted tickets for the show ‘Variety on Parade’, pleading he had no time to sell them, he received the committee`s official censure (P 12). Similarly, while the Secretary and Treasurer both accepted an invitation to represent the MC at a recital at the Reardon Smith concert hall in Cardiff, they forgot to tell the Chairman that he, too, was invited. The Secretary pleaded his over-full agenda for this oversight and offered abject apologies (P 19).

Relations between the MC and the Opera sub-committee were not always as cordial as they might have been either. A matter of particular contention was that of allocated seating for performances. When Emlyn Davies, Chairman of the opera sub-committee, promised members of the chorus a virtually “blank seating plan” for the Saturday night performance of the opera ‘Balalaika’, with few previous bookings, he was opening a can of worms. In its wisdom the MC had decided, instead, that all ticket sales should henceforth be made directly via the ticket sellers (as minuted in a meeting of the MC on March 3rd, P 5) - thus depriving members of the chorus of the option of priority booking. In response the opera sub-committee approved a proposition that “unless the clean plan be brought to the next rehearsal…..(members should) walk out and abandon the production” (P 31). It was pistols at dawn.

At a specially convened meeting at the Park Girls` School on May 31st members of the Opera sub-committee, which included some members of the MC, met members of the chorus to consider the above ultimatum. Wyndham Thomas, chairman of the MC, declared that Emlyn Davies` earlier promise of a “blank seating plan” was “unauthorised”. Moreover it appears that the MC`s new sales policy was partly motivated by the “abuse” and “filthy language” on the part of “members of the choir” towards committee members – as well by a sense that “the public had to be considered also”. Tempers flared and “the meeting went rather unruly”, until “the chairman had to call everybody to order”. In place of a proposed vote, it was decided that those who held by the ultimatum should leave the room, while those who were prepared to compromise remain. Most left, including “the bulk….of the male section”, leaving only 16 behind (P 35).

However, following the resignation of Emlyn Davies (P 33), the adoption of a lottery system for tickets` sales (P 43), a change of Musical Director (P 53) and a wholesale culling of the chorus on the basis of membership by invitation only, (P 56), performance dates for the opera Balalaika were finally agreed to for January 8th to 14th 1949 (P 77). Yet it seems unlikely that the drama on stage would be a match for what had happened during the preceding months.