E Nesbit's The Railway Children is one of the most enduring pieces of children's literature. However, it is a challenge to stage, not least because the story revolves around the children, and it is almost impossible to find three child actors with the maturity to carry the whole play on their shoulders.

This production, directed by Andrew Breakwell, uses adult actors with childlike qualities for the three leads. Another problem with adapting this novel for the stage is that it conveys the children's impressions of their new life through a series of linked vignettes, rather than having a particularly tight plot. Mary Elliott Nelson's adaptation resists the temptation to add unnecessary pace.

As is probably inevitable when staging a play like this, there are hits and misses. Elise Davison is convincing as the youngest child Phyllis and lends plenty of welcome humour, while Shameer Madarbakus has some excellent moments as Peter. Dan Copeland is a textbook example of the perfect porter Perks, a rounded but still comical character with kindness as the keynote.

Andrea Davy plays the eldest child Bobbie, probably the most challenging part, and has difficulty finding the right tone. Bobbie's mixture of priggishness, motherliness and touching naivety is always a struggle to bring to life.

Doubling-up creates confusion in the audience. Patrick Bridgman, for instance, plays both Father and the refugee Szczepansky, two men who share not only character traits but clothes.

However, the doubling-up is yet another chance for a very strong cast to show their versatility, as if their playing musical instruments between scenes isn't enough evidence of their talent.

Another reason The Railway Children is hard to stage is that relentlessness is one of the main themes. The grinding machinery of State injustice is pitched against the tireless kindness of ordinary people.

And all this is seen through the imperfect eyes of a child. It is tempting to ignore these aspects and aim to please a nostalgic audience with a chocolate-box production.

This play may err on the side of heart-warming, but it is so well done that it would be silly not to just sit back and enjoy the ride.

You can see the production until August 21.

KATE GRIFFIN