Richard Linklater’s “Me and Orson Welles” is pure delight, a backstage story set in a romantic period built around a magically charismatic character.

It’s also the movie that proves that Zac Efron is a real actor, not just a teen star with a solid singing voice and a dazzling smile. As the ‘Me’ in the title, he holds his own against the dashing figure of Orson Welles. And this is Welles near the peak of his youthful genius, played with eerie proximity and great humor by newcomer Christian McKay, in what may be the year’s most auspicious film debut.

Set in 1937, “Me and Orson Welles” features Efron as Richard, a theater-struck high-school student who spends his after-school hours roaming the music stores and theatrical marquees of Manhattan. His rambling brings him to the front of the Mercury Theater, Welles’ fledgling troupe, as the actors gather on the sidewalk to see its sign lit for the first time.

Richard quickly ingratiates himself with Welles and winds up cast in a small role in Welles’ imminent production of “Julius Caesar,” after lying about his ability to play the ukulele. Suddenly he’s in a Broadway show, taken under the wing of the company manager, Sonja (Claire Danes) and the new favorite of the mercurial, blustering and seductive Welles.

Based on a novel by Robert Kaplow, “Me and Orson Welles” is about heroes, genius, innocence, growing up and, of course, the theater. As played by Efron,  Richard is confident and nervy, too young to know better about some things, but a fast learner – a kindred spirit in whom Welles may see a younger version of himself. Richard has the resilience of youth and can absorb the lessons Welles teaches him without taking the accompanying insults personally.

He’s a hustler with enough innate smarts and game to also capture the attention of Sonja, with whom he becomes emotionally involved and in over his head. Efron can play young and heartsick and still find the humor in the pain; as Richard, he’s an unexpected romantic who learns some serious lessons about love in the adult world and its occasionally pragmatic nature.

Danes has the perfect blend of charm, warmth and common sense as Sonja, who understands what she’s doing as she sleeps her way toward a break in show business. She’s self-aware, an empowered woman who has figured out how to get where she needs to be.

The real find here is McKay, whose Orson Welles nearly effervesces on screen. He has the music of Welles’ voice tuned perfectly, capable of shifting tones with a thought. The right blend of ego, genius and childishness gives this Welles the life and potential of the man who is still marinating “Citizen Kane” and the “War of the Worlds” broadcast somewhere in his brain.

“Me and Orson Welles” captures an American original at a seminal moment in his creative life. His best work still lay ahead of him and he had yet to run up against the hard wall of studio indifference and control that would flummox him for much of his career. Linklater’s film captures the sheer force of will by which Welles created theatrical history, seemingly while doing three other things at the same time.

It would be nice if Efron’s “High School Musical” fans follow him to this new film – and discover Welles in the process. Even if they don’t embrace Welles, they’ll still find a film that uses its solid wit and intelligence to expand beyond the confines of the romantic comedy. They’ll discover a film that explores questions about how being touched by the muse in the right way at the right time can change your life.

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