For the second time, Mark DuBois brought his Studio Singers to the Orangeville Opera House for an evening of delight. Mark's students can begin studying with him from their early teens.

They have to audition, though, and he looks for more than singing ability; he looks for dedication, determination and a selfknowledge that says "I have to sing."

Younger budding singers might come to his Hockley Valley children's Choir, which he conducts once a week voluntarily and includes in his concerts. Of course, there is never a dry eye when the little ones do their stints.

It is possible that a choir member might move on to study with him; others might continue in other choirs; others will be more inclined to attend theatrical events, to patronise the theatre, to care about music.

Back to the show. Because there was a long list of songs, designed as it was to showcase the assembled talent, the evening was conducted largely without commentary. There was a charming simplicity to the show with one song being presented after the other, each with its own appeal.

However, no evening will ever be presented by Mark DuBois without theatre, without fun and humour. He sang duets with his girls, from La Traviata, Gigi, and, in the second act, he showed up on stage in rubber boots to sing from Fiddler on the Roof.

A bevy of beautiful young women, yes, but young men as well graced that stage. David O'Dwyer, whom I interviewed some years ago when his voice was just changing, told me that he would be a tenor and was "very excited".

On stage last Saturday, he demonstrated his maturing voice to resounding applause.

Collin Simmons gave us Leonard Cohen's "Hallelujah", an unexpected treat and wonderfully rendered. The last of the three men, as it were, James Gerus, offered "Accidentally in Love", and we loved it.

The three of them sang "Wonderful World", with their own touches - they will go far.

It all started with Theatre Orangeville's young company's production of Les Miserables in 2003. Mark was called in to coach the male singers and found himself inundated with appeals to teach. Some of the original singers in that production are still with him and it was a real joy to see how they have matured and developed.

Actually, what pleased this writer was the scope of the repertoire, with a happy disregard for age and distance. From opera to Wicked, the songs were the thing and they came from many sources. They sang, in addition to English, in Italian, French and German. They sang sacred and secular songs. They were serious and funny. They were brilliant.

Through it all was Danny McErlain, who provided the accompaniment for the whole show. Understated, sitting quietly at the piano in his tux, Danny provided the perfect frame for every picture on the stage. It is hard to overstate the importance of his role, but the efforts of the singers can be very much affected by the talent at the accompanying piano and Danny left no room for unhappiness.

When the show was over and we stood about in the foyer upstairs waiting for our young stars to come. As they descended from the dressing rooms we clapped our appreciation for their efforts and success. There were gifts of flowers and hugs.

But I'll never forget the face on one of Mark's original students, Olivia Turley. She had sung "Wouldn't it be Lovely?" and "When you wish upon a Star", as well as participating in the groups. And, like the others, she had sung it all with heart and soul. I watched her talking to the people she knew - she was so very happy, she was simply euphoric - it was amazing to see her joy in her craft and talent.

In that precise moment, I understood fully what Mark DuBois is trying and succeeding to achieve for his young students. That special thrill, that specific rush, that total involvement in the moment. It is a wonderful gift.