Previews: JESUS CHRIST SUPERSTAR at Carrollwood Cultural Center

On stage March 13-22, 2026.

On stage March 13-22, Carrollwood Cultural Center presents Andrew Lloyd Webber and Tim Rice’s rock opera Jesus Christ Superstar sponsored by Thrivent. Under the direction of Paul Berg, the production explores the final week of Jesus’s life through a score that continues to shape the musical’s legacy.

Berg balances the rock score with intimate expressive storytelling. “I tell my actors that I would rather have the emotion true and honest even if it comes at the cost of the vocals,” he says.

With no spoken dialogue, he focuses on the spaces between musical moments to reveal connection. He designs a world that contrasts the warmth of Jesus and his followers with the coldness of those in authority. “People in power will go to great lengths to stay in power and get more, even if the world around them is crumbling to the ground.”

Patty Smithey, playing Jesus, approaches the role emotional openness. She says, “I am the most excited to explore Jesus’s humanity and relatability. I hope to portray Jesus’s devotion, love for all people, and His commitment to serve in every scene, especially during the painful moments.”

She studies the score, explores multiple interpretations, and builds physical stamina, but she says the deeper preparation comes from her faith. “The role of Jesus has been the most demanding of my career, vocally and emotionally, but ironically, working on this role has given me the most peace.”

Rehearsals deepen her understanding of the bond between Jesus and Judas. “I was surprised to realize how much Judas loved Jesus,” she says. “The love between them is profound, which is why the betrayal is so heartbreaking.”

Smithey performs with vulnerability and trust, letting the music and Berg’s guidance shape her choices. The emotional center of her performance begins with “Gethsemane,” which she describes as the moment where Jesus breaks down and confronts fear, sadness, and hope. “Jesus’s lack of control in all of this, and his unknowing of what’s going to happen next, resonates with me.”

Evan Lomba, playing Judas, builds their performance from empathy and complexity. “I wanted to lean into Judas’s humanity. I’m drawn to the idea that his betrayal feels tragic rather than malicious. I think he thinks he’s doing the right thing, even if it all falls apart.”

They see Judas as someone who cares deeply but becomes overwhelmed as events intensify. “He’s loyal, but he’s also scared and frustrated. As everything starts escalating, those feelings just get louder.”

The score gives them a wide emotional range to express Judas’s turmoil. “I get to scream, I get to float, I get to be vulnerable, and it shows his chaos way better than simply speaking could.”

Their connection with Smithey shapes the onstage relationship. “Getting to do this with Patty is the best. She’s truly the coolest ever. We have so much love and trust offstage that it naturally shows up onstage. When I’m singing to her, it’s easy to feel all of it.”

Lomba hopes audiences leave with a more nuanced understanding of Judas. “I’m not trying to convince anyone to love Judas, but I hope audiences see how human he is. If they leave the theatre with a bit more empathy or at least more understanding that would mean a lot.”

Berg hopes the production sparks conversation long after the final chord. “This musical was originally written in 1971, but it feels very relevant today. I hope it makes them think and I hope it makes them feel something. I want the audience to talk about it, I want them to debate about the choices the characters make.”