Unfilled housewife Mona auditions for a community theatre show on a whim and powered by powerhouse director Jerry, finds herself in creative places she could never imagined in writer-director Jesse Eisenberg’s musical comedy-drama The Debut.
I'm Exactly Where I Should Be
by Chris Drew
4 stars
CAUTION: Here be spoilers
Having seen Serena Cherry (Bernadette Peters, Pennies from Heaven) raise the roof with her audition, we see the backstage buzz as others await their turn including strait-laced Mona (Julianne Moore, Still Alice) looking out of place amongst the aspiring thespians.
Cruelly cut-off mid-chorus by the notorious director Jerry (Paul Giamatti, Sideways, The Holdovers), Mona surprises herself by yearning for the role of Miss Danielle.
With a husband and older children who routinely ignore her, Mona sees the show as an opportunity for something new, so is crushed when Jerry tells her they have been rehearsing for weeks with Cherry in the role.
However, after a late-night call she is thrust headfirst into rehearsals the next morning with the cast at pains to make her feel welcome and comfortable.
She does not, though, impress Jerry with her first attempts at her opening line. On the second day the rest of the cast are sent home leaving Mona to rehearse with Jerry.
To force her to find the character of the building’s superintendent, Jerry takes Mona through an exercise where she must get the rent from him. What follows is a show-stopping monologue where a desperate Mona descends into talk of eating rats and getting the plague if she can’t get his rent.
Pleasingly Eisenberg’s script doesn’t tread the obvious crowd-pleasing path of the meek performer being lifted up to give a tremendous performance.
Jerry takes Mona, delighted to have to wear a tool belt, on a research trip to experience a real apartment block. Taking confidence, from there she continues on an, almost surreal, quest for realism wanting everything about her character to be as truthful and accurate as possible.
Moving into a fleabag hotel, she steals the super’s uniform and, in an effort to use tools, inadvertently short circuits the building and electrocutes herself.
Arriving at the tech rehearsal, in the stolen uniform with newly dyed hair and eyebrows, she adds lines and stage directions and informs Jerry she will mark her big song to save it for opening night. This pushes the director over the edge as he demands she reads the fucking script.
After finding out her family have no intention of attending, she finds Jerry staying above the theatre and he tenderly expresses some jealously as a former actor wishing he was on the stage.
On opening night Jerry and the cast are held in suspense on whether Mona will say a crucial line to set up the finale, she does before fainting and receiving a huge ovation as she is carried off.
The final scene sees a composed Mona, now living happily in her own apartment, about to audition for Jerry for a new show.
At the centre of The Debut, and crucial to the film’s success, is a glorious grandstanding performance by Moore. She laughs, cries, sings, loses control and entertains and convinces at every turn.
You care about and root for Mona, particularly seeing how her family treat her, in the unexpected journey she finds herself on.
Moore has numerous hilarious moments, including a moment of brilliant physical comedy during an early one-on-one practice, and absolutely brings down the house with her late rehearsal monologue with Jerry.
It is certainly a turn which will see the Oscar-winner back in the conversation for another statuette which would be very well deserved.
At Moore’s side is Giamatti delivering another terrific turn which could well receive Academy recognition.
Jerry is perhaps a more familiar character, but Giamatti brings the necessary gravitas and presence as the respected, dominating director who only very briefly shows some vulnerability behind the director’s chair.
Halle Bailey (The Little Mermaid), with her brilliant vocals, gives the show within the film real credibility but also a genuine sweetness as Stef. She is effervescently kind and supportive to Mona from the go which leads to a crucial eleventh hour pay-off in the final performance.
Eldar Isgandarov (Club Kid) more than earns a shout out as Piotr, the cheerful cast assistant, every moment he is on screen leads to a laugh or at the very least a smile.
Fresh from his screenplay nomination for A Real Pain, Eisenberg again shows himself to be a writer and director of great skill.
He crafts a series of believable songs for the show – singing well himself in his minor role – with Mona’s big number ‘This City May Have Chewed Me Up (But It Hasn’t Spit Me Out)’ being a significant highlight.
He shows a real experience of the world of community theatre, capturing the feel of life backstage and in the rehearsal room with humour and affection.
The Debut is a great success for all involved but particularly Eisenberg, Moore and Giamatti. Anyone who has felt unseen or found themselves with an unexpected new dream will relate.
The Debut screened as the closing night UK Premiere at the 2026 BFI London Film Festival.
