Over the next 3 months we are publishing a unique insight into the origins of the Pontardawe Arts Centre. It was compiled by one of our members, Malcolm Bubb. Malcolm has done a tremendous job, capturing the living history of the Arts Centre, through the eyes and the words of people who were there.
It is illustrated with a variety of pictures – probably randomly ! – of Pontardawe at different times. Our hope was to use photos of the Arts Centre. Incredibly these are not held by the Arts Centre nor Neath Port Talbot County Borough Council – they use ones from Commercial photo libraries when needed. A project for us to rectify! Meantime, read on…..
Pontardawe Arts Centre occupies an important place in the history of the town. Its story is not limited to the fabric of the building itself. It is also a story about local industry, education, entertainment, recreation, music, public service and community effort. Over more than a century, the building has served several different purposes and has adapted to the changing needs of local people.
The recollections gathered for this series come from Malcolm Bubb’s friends who have lived in Pontardawe for much of their lives, together with information drawn from local historical accounts and conversations with people connected to the building. Their memories begin mainly in the 1950s and 1960s, but they also help place the Arts Centre within the wider history of Pontardawe.
Many thanks to Malcolm, and his contributors, from the Friends of the Pontardawe Arts Centre for all his work to pull this article together.
1. From Public Hall to Pontardawe Arts Centre: A Community History
Historical background
The development of Pontardawe was strongly influenced by prominent local families, particularly the Gilbertsons and the Lloyd family of Cilybebyll. Historical accounts associate these families with industry, employment, land ownership and the construction or financing of many churches and chapels in Pontardawe and nearby villages.
Following an informative talk by Dr. Hugh Jones at the Heritage Centre about the Gilbertson family, it became clear that their influence extended beyond religious buildings. The Public Hall was initially constructed by the Gilbertsons as a Reading Room for workers at the local iron and tinplate works. According to Professor Jones, the intention was to support literacy and education among employees.
The building also included a temperance bar. Workers often completed shifts lasting more than twelve hours. After such demanding work, many were thirsty and visited public houses for refreshments. The temperance bar offered a non-alcoholic alternative, providing a place where workers could obtain drinks without the disadvantages associated with alcohol. In this way, the building combined education, social provision and community improvement.
The Public Hall is reliably reported to have opened on 6 May 1909. The world-famous opera singer Adelina Patti is said to have performed for the audience on opening night, an event that may have reflected the standing and influence of the Gilbertson and Lloyd families.
There is, however, another date to consider. Commemorative stones on the front and side of the building carry the names of Herbert Lloyd, a local Justice of the Peace; the Right Honourable Lord Glantawe; and Lewis Bowen, the employees’ representative. The stones are dated 11 July 1908. This suggests that the date may have marked an official opening or an important stage in the building’s establishment. Whatever the precise distinction between the two dates, the Public Hall has now stood for well over a century and has experienced many changes of use.
Memories of growing up in Pontardawe
Personal memories do not generally extend back to the building’s opening. Instead, local recollections begin in the 1950s and 1960s and continue through the later period when Lliw Valley Borough Council purchased the building. A further local-government reorganisation eventually brought Lliw Valley Borough Council to an end and led to the creation of Neath Port Talbot County Borough Council.
These memories reveal a Pontardawe in which children and young people had many opportunities for play, sport and entertainment. Although those who grew up during the period did not necessarily appreciate the range of facilities available to them, the town offered a rich social environment.
Play and recreation
Children running around Pontardawe in search of something to do were probably spoilt for choice. On the Alltycham Estate, King George V Park provided a popular place to meet and play. The park was designed and created by Hywel Hopkin, the father of Mary and Carole. It included a play area with a slide, a roundabout and swings. During the summer, the outdoor paddling pool was one of its greatest attractions.
The park also offered opportunities to play tennis and bowls. For football, rugby and cricket, children and young people could use the Recreation Ground. These facilities formed an important part of everyday life and helped give local children access to sport close to home.
Before Pontardawe Rural District Council built the swimming pool in King George V Park in 1973 or 1974, children also swam in the River Tawe or at Cwmdu. Local memories include the Cinders, the Boys’ Pond and the Girls’ Pond at Cwmdu, near the bridge leading towards All Saints Church.
The way these places are viewed has changed considerably. During a very warm May in 2026, when no swimming pool was available, local children entered both Cwmdu (Upper Clydach River) and the River Tawe. Several subsequently became ill, and Welsh Water placed signs advising children not to enter the water. This contrasts sharply with earlier memories, when swimming in these locations was regarded as an ordinary part of childhood. It also illustrates how standards of public health, water safety and environmental awareness have changed over time.
Entertainment in the town
Pontardawe also offered a wide range of entertainment. The town had three cinemas: the Lyric, the Pavilion and the Public Hall. The Pavilion stood on the site where the Berlei factory was later built; the location is now occupied by a fitness studio. The Public Hall showed films and hosted theatrical performances and Christmas pantomimes.
For many residents, the availability of several cinemas within or near the town was an important part of growing up. Film-going provided an affordable social activity and gave local people access to popular entertainment without travelling far from home.
As the years passed, however, the condition of the Public Hall deteriorated. The building was used for a number of different purposes in an effort to keep it open and financially viable. One of the most significant uses involved the front part of the building, which became a billiards and snooker hall.
The Stute
The Institute was commonly known as the Stute. It was managed exceptionally well by Len Pugh, and many local schoolchildren spent hours there practising and learning to play snooker. They received guidance from the highly regarded Jackie Carney.
Several players who learned the game at the Stute went on to become skilled lifelong players and competed throughout South Wales. Among them were Alun Jones, Mike Musk, Alan Moses, Dai Jones and Eddie the Cobbler, as well as many others. For a considerable period, the Stute was regarded as a splendid snooker hall and became an important part of local social life.
The division of the building into different areas allowed the Public Hall to continue operating even when its original role had weakened. The front section supported billiards and snooker, while the rear provided space for theatre, cinema and, later, dancing. This flexible use helped preserve the building through periods of uncertainty.
The beginning of the dance-hall era
At the rear of the building was the theatre and cinema. For a short period during the 1960s, this space became a dance hall. David Madge provides a more detailed account of that period, but the memories of local residents already convey how exciting it was.
Although many young people, including some of those who attended, were underage, they remember seeing leading local bands perform rhythm and blues, soul, rock and roll and other popular styles. Live music in a local venue created a strong sense of excitement. Young people did not have to travel to a major city to hear talented musicians; the Public Hall brought the music directly into the community.
In June 1966, the Iveys from Swansea reportedly performed at the Public Hall. The group later changed its name to Badfinger, was signed to Apple by Paul McCartney and achieved considerable fame.
A building shaped by its community
The early history of the Public Hall demonstrates how a single building can support many aspects of community life. It began as a place intended to improve workers’ education and provide healthier refreshments. It later became a cinema, theatre, dance hall and snooker venue. Each phase reflected the needs and interests of local people at the time.
The building’s history also shows that public facilities do not survive through architecture alone. They depend on management, local participation and the willingness of committees, councils, staff and residents to adapt them. The memories of Pontardawe’s Public Hall are therefore also memories of the people who used it, managed it and worked to keep it open.
Next Month. History-2 David Madge and the Music of Pontardawe Public Hall