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It shames me to admit that my familiarity with the films of John Waters is not what it should be, but I know enough about his film “Hairspray” and about musical theatre to see how it could work well as a lavish if less cult-oriented Broadway extravaganza, which I also have not seen. Couple my inexperience with the material with my distrust of unimpressive director and studio tool Adam Shankman, and you might expect a disaster in the making.

But Shankman, a choreographer before taking the megaphone, may have finally found a project where he fits in and contributes, and it’s a story about an outcast getting her chance to be a star. By eerie coincidence, or maybe not, it’s also a project where other several faces stand out in ways we never got a glimpse of before.

Although cursed with too many tepid songs—for every showstopper like “You Can’t Stop the Beat” there’s a disorganized if upbeat mess of dueling voices—“Hairspray” hits an agreeable stride quickly enough and never lets the smiles slip from its audience’s face, providing big laughs and cheery tunes.

It’s not hard to pinpoint the source of the energy, either. A star is born in Nikki Blonsky in her debut role as Tracy Turnblad; brimming with charm and joy and, yes, beauty, she’s a winner from the first flash of her exuberant smile, kind eyes and refusal to let her personality fall subservient to her figure. It’s a shame that Tracy sort of gets lost in the final scene, which suffers from disorganized direction in a scene requiring somewhat more organized chaos; there comes a point in the film where things stop being about Tracy and start being about whoever the camera happens to look at.

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Written by: Adam Bertocci
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