Final Rating: 4.5/5
The world of community theatre is the backdrop for The Debut, the latest film from Jesse Eisenberg as a director, writer, and producer. Mona Friedman, played by Julianne Moore, is a New Jersey housewife auditioning for a small role in a local production of a musical called “Nosy Neighbors”. It’s her first time ever auditioning for the theatre and the shy former church choir singer seems up against it as she performs for Jerry, the show’s director (portrayed by Paul Giamatti).
Predictably, Mona is not cast in the role; it instead goes to the seasoned actress/noted belter Serena Cherry (Bernadette Peters, in a genius bit of casting). After the audition, Mona returns to her meek existence in a marriage that is barely there and older children who seem to talk by her instead of to her.
After a month of not hearing from the theatre company (and not knowing she would have to check the casting notice herself), she shows up at the theatre to see whether or not she got the part of Miss Danielle. She tracks down Jerry only to hear that the play had been cast weeks ago and they are well into rehearsals.
As fortune would have it, later that evening Jerry calls Mona at home. Serena Cherry has left the shows for a paying gig, and Mona (the only other auditioner for the role) is given the part. And thus begins Mona’s journey.
The Debut plays into the quirks and outsider-ness of small theatre as much as it does to the absurd and surreal. There are moments that every theatre kid will resonate with, and there are also moments that would have made David Lynch nod in appreciation.
In a film about a stage show, star performances go a long way. Moore and Giamatti each deliver massive, captivating performances that are equally entertaining, enthralling, frustrating, and deeply sad.
Few living actors play bad-to-mediocre thespians as well as Julianne Moore, and she takes Mona from mousy to budding confidence to showstopper, but then things go even further. Giamatti’s director figure also runs the gamut as he works to pull a great performance out of Mona. He succeeds beyond his wildest hopes, almost like Dr. Frankenstein: creating a monster without being able to control the monster.
The supporting cast lends the film a grounding tone, which it definitely needs as it becomes gradually more unhinged. Halle Bailey is the plucky leading lady Stef, and she embodies the kind of perpetually happy drama kid that make small casts into found families. K. Todd Freeman, a Tony Award-nominated performer himself, plays skeptical-but-talented musical director Marty. Jerry’s doting disciple/assistant director Piotr is played by Azerbaijani newcomer Eldar Isgandarov, whose first film role was earlier this year in Cannes favourite Club Kid.
In the true community theatre spirit, Eisenberg wears many hats here as well. On top of his writing, directing, and production duties, he also wrote stage dialog and songs for “Nosy Neighbor” and plays minor cast member Todd.
The Debut is a pretty big artistic swing for Eisenberg, and it makes sense that he wanted to put himself in many roles behind and in front of the camera. It takes some zags that are quite unexpected, and by the end it’s buzzing with life. It both celebrates and needles the idea of family in all its forms, the creative process, self-expression, the foibles of artistic communities, and humility. It’s also uproariously funny and heartfelt, which makes the failures and emotions all the more impactful.
The Debut was seen during the 2026 Calgary International Film Festival.
