Ryan Ward kicks some bloody Ash

August 14, 2003 was a day that left approximately one third of Canada's population in the dark.

What better time to premiere a musical theatre adaptation of one of the world's most beloved cult horror classics?

Evil Dead: the Musical opened in Toronto's Transac Club - well, just outside the club on the street due to the whole no power situation - on that fateful blackout night and has been gaining fame, acclaim and a devout following not dissimilar to that of the original Sam Raimi b-movie trilogy starring Bruce Campbell.

The two-hour snippet of musical-comedy genius is the brain child of George Reinblatt (book, lyrics, music), Frank Cipolla (music), Christopher Bond (music) and Melissa Morris (music).

Following two beyond-capacity runs in the Transac Club, showings at the 22nd Just For Laughs Festival in Montreal, and an extremely successful six-month run as an Off-Broadway production in New York City, Evil Dead: the Musical returned home May 1, 2007 at Toronto's Diesel Playhouse and runs until August 4.

People have been traveling from all over North America to witness the phenomenon.

I am proud to say I have now joined those ranks.

I sat with Executive Producer Jeffrey Latimer in Toronto the evening of Friday June 15, just prior to my blood bath to discuss the show.

Did I fail to mention the fantastic use of blood during the performance?

Yes, my seat was in the highly sought after "splatter zone," but more on that in a minute.

Latimer was invited to the second-ever performance by the creators of Evil Dead: the Musical to lend some production advice.

"I went to the show and there was a line up of about 200 people outside," recalled Latimer. "And I told them they have to let the house in. At eight o'clock you have to make sure the audience is in the house. They said the house is full. These are people waiting to get an extra ticket."

He has been involved ever since and although the production costs have increased from the original $12 000 run in 2004 to the six-figure production now playing in Toronto, none of the integrity has been compromised.

"The charm of the show is exactly the same as that first little production. It's just as stupid. It's just as silly. It's just as crazy. But what's different is now the production values are unbelievable," said Latimer with a proud grin.

"The lighting, the sound, the set itself has grown so much, and the B.D.S. which is the Blood Delivery System, which you'll see."

Ah, the beautiful B.D.S.

"This show has a lot of making fun of itself. It pokes fun at itself continuously. It has jokes of jokes within jokes. It has moments that are just stupid.

"There's one moment when she has a cup of blood, and as opposed to having the blood spurt somehow like a great effect which we have throughout the show - it comes out of the walls, it comes out of the floor, a blood pack spurts and you think she's really been shot - there's moments where the actress just takes the blood and throws it into the audience to cover them. It's just in a styrofoam cup and that's it. It does not take itself seriously and that's why the audience is having so much fun."

Coincidentally, that said cup of blood was aimed directly at me when the moment finally arrived as I sat front row "splatter zone" and eagerly accepted the offering.

In addition to blood-a-plenty, all the definitive Evil Dead elements are there.

The chain saw, the evil scampering hand, the talking moose, the bridge, Candarian Demons, the Necronomicon and quotable quotes right from the movies brilliantly delivered by Ryan Ward as the lead character, Ash.

"Who's laughing now?!"

"This is my boomstick!"

"Good. Bad. I'm the guy with the gun."

"Gimme some sugar, baby."

And of course, "Groovy."

The one glaring difference is the addition of some of the funniest songs to ever hit the stage, including Cabin in the Woods, What the F**k Was That?, All the Men in My Life Keep Getting Killed By Candarian Demons and Blew That B**ch Away.

The original cast recording released by Time Life on April 24 of this year, debuted on the Billboard charts at number four.

Any fan of the Evil Dead trilogy will love it.

Bruce Campbell himself thinks it's fantastic.

Sam Raimi, although he hasn't seen it yet, has given the production his blessing and support.

And critics are gushing more than a severed limb about the uproariously bloody good time that is Evil Dead: the Musical.

Anita Gates of The New York Times wrote, "Evil Dead: the Musical wants to be the next Rocky Horror Show and it just may succeed."

Latimer told me with obvious satisfaction, "It got four star reviews. The last shows that I did that got such great reviews were Stomp and Forever Plaid. The Globe and Mail, the Toronto Star, the Toronto Sun, and Now Magazine all gave it four stars. That doesn't happen.

"This is the most unique entertainment I have ever produced. And it's a riot."

B.D.S. (Blood Delivery System) Stats

*The following was taken from a diagram of the B.D.S. illustrated in the back of the show program

The challenge was to spray a large quantity of high viscosity stage blood with pinpoint accuracy, 100 per cent reliability and make sure it's safe.

The solution was the B.D.S. designed and created by Peter Higgins and Matt Olmstead.

Volume of blood - 5 000 mL

Spray distance - 0-20 m

Spray accuracy - plus or minus 5 cm

Pressure range (H2O blood) - 10-20 psi

Pressure range (stage blood) - 30-110 psi

Splatter on actor's face - MASSIVE!

Splatter on non-target - minimal

Trigger on/off speed - 0.3 sec.

Max. load to fire time - 48 hours

Max. full firing time (at 80 psi) - 10 sec.

Velocity - 20 m/s

Prototype versions (failures) - 7

Total blood volume fired (2003-now) - 748 L

Cost of construction materials - $142.75

Result in audience - shock and awe

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