LIFE
'Ambon, Ulan, Baha' takes a hard look into greed and the climate crisis
The award-winning musical, which only runs this weekend, takes a dramatic approach to educating Filipinos to the harsh realities of climate change, and the its real world impact on what the future holds.
In what could only be a full circle moment, multi-awarded playwright Frank G. Rivera's acclaimed ethno-pop-rock modern zarzuela Ambon, Ulan, Baha makes its way back to The Metropolitan Theater (MET) with a reimagined staging that opened today, and runs until tomorrow, September 27. Where the audience is taken through a journey of how greed, corruption, and self-indulgence can lead to suffering, exploitation, and social inequality - as people face a raging climate crisis.
Directed by CJ Andaluz, Ambon, Ulan, Baha follows the story of Nonoy and Inday, played by CJ Navato and Thea Astley. The two become childhood sweethearts, growing up together in the fictional Barrio Magubat. Their dreams become entangled in the greed and corruption wrought upon the town by local Mayor Fortunato (Vladimir Manio), who allows powerful businessman Don Calixto (Anton Juan), his son Doctor Anton (Rendell Sanchez), start a logging concession in the area. Over time, the mountains are stripped bare by illegal logging and kaingin practices, severely impacting the townsfolk and their livelihood. And as the title implies, nature retaliates, as torrential ulan, and a catastrophic baha forever alter their lives Navato's character is the crux to this story, as Nonoy completes a degree in forestry, allowing him to spot the danger signs, and helps his town rebuild.
Not surprisingly, at the center of it all, is a love triangle - where Astley's barrio girl character Inday catches the eye of Doctor Anton. And in classic Filipino melodrama, the rich and powerful always get their way. Not that Nonoy doesn't put up a fight - for the sake of love.
Written over 30 years ago, Ambon, Ulan, Baha was ahead of its time, putting the spotlight on the environmental impact of illegal logging practices. A quick scan of the news since, where massive disasters have become less and less of an exception, prove that Rivera recognized that the need for a sea change in legislation and governmental wsa urgent even then.
The 2026 restaging transformed the MET into a world impacted by meteorological and geological changes, created by production designer Ohm David, and lighting designer Charlotte Despuez. Anchoring the production were the talented members of Tanghalang Bagong Sibol, who played the townsfolk and the dance ensemble. Adding dramatic tension to the story were the parents on opposite sides of greed - Onyl David and Shermaine Santiago as Nonoy's civic-minded parents Mang Pedro and Nana Ilyang, and Nazer Salcedo and Sweet Buchanan as Inday's greedy parents Kapitan Berto and Nana Maring.
An interesting highlight of the show is the inclusion of indigenous Filipino expression through traditional chants and musical elements, including the participation of Manlilikha ng Bayan (National Living Treasure) Rosie Godwino Sula, recognized for her mastery and preservation of T’boli epic chanting traditions.
The play was first written and staged as Kaingin in 1976 as part of Ang Hawla, a trilogy of plays created and performed by MSU-Sining Kambayoka before becoming a full-length zarzuela in 1978, with Rivera composing the majority of the score, including songs like Tagtuyot, Hapdi, and Tao’y May Pakpak Din.
This staging of Ambon, Ulan, Baha, presented by the National Commission for Culture and The Arts and the MET, after three decades is also historically significant. In its first outing in 1992, it was under Rivera’s tenure as founder and artistic director of Teatro Metropolitano. It would become the last production mounted at the Metropolitan Theater before the venue closed its doors.
At its heart, Ambon, Ulan, Baha makes a case for a difficult truth - environmental destruction is the combined result of aspirations for modernization, livelihood, and economic opportunity. And judging from the reactions of the students in the theater, it was a message that resonated with them well. As Ambon's director Andaluz explains it - "Ambon, Ulan, Baha reminds us that every act of progress carries a corresponding responsibility. No one is exempt from the consequences of a wounded planet.” Catch the final set of shows tomorrow, September 27, at 10AM, 2PM, and 6PM at The Metropolitan Theater. Tickets are available for P1,500 for reserved seating, and P1,000 for general admission at Ticketnation.ph.