The 1962 film of Whistle Down The Wind did an extraordinary thing.

It took what looked, on paper, the most sentimental of stories and made of it something beguiling, affecting and entirely real.

This was thanks to Alan Bates' slow-burn transition from cynicism to guilt and the amazing performances of child stars Hayley Mills and Alan Barnes.

Andrew Lloyd Webber's musical adaptation transfers the action to the Deep South of America, partly to allow for a racism subplot, and it works like a theatrical dream.

Innocence is at the heart of the story. Children, who mustn't be seen as gullible but, rather, blessed with an unquestioning wonderment, mistake an escaped convict for Jesus Christ.

They do what they can to protect him from a "second crucifixion" by the adult, small-town, small-minded zealots.

It all ends, as you would expect, rather disastrously but the faith of the youngsters is resilient. They will, proudly and patiently, await the next coming.

It's not one of Lloyd Webber's best scores but it's fine enough and the slick and energetic production makes very effective use of quick scene changes.

Tim Rogers, as the criminal/Christ is clearly a Michael Ball in the waiting and Kate Rowley Jones (in the Hayley Mills role) has the promise of a Judy Garland-like presence.

Nobody lets the side down and the local children's chorus from Cavendish School along with the star-destined scamp, who quite brilliantly portrays Poor Baby, will melt the hardest heart.

It's tosh, of course, but wonderfully moving tosh - and that's what showbiz is about.

Tel: 01323 412000.

Review by David Wilkins, features@theargus.co.uk