This article looks at the particular ways in which the resurrection of Christ was staged in the public domain during four editions of a popular musical event named The Passion. Since its first edition in 2011, this annual performance on the suffering, death and resurrection of Jesus Christ has become a large media event in Dutch society. The author argues that its organizers—a television production company and two broad- casting companies—in their annual choices on how to shape and stage The Passion, make theological choices. Moreover, she argues that the staged theology of the orga- nizers is to be considered a form of public theology. Pointing out that authority in late-modern network culture is subject of change, the author reveals how the produc- tion and broadcasting companies by organizing and actualizing a passion both prove themselves a leading party in the actualization of Christian tradition and turn up as players in the field of public theology.