You can use up a lot of energy being dead, as the cast members in the current national tour of the musical Beetlejuice, now playing at the Van Wezel, must surely have discovered. To say that this adaptation of the 1988 Tim Burton film starring Michael Keaton is running on high-octane fuel would be an understatement.

Readers probably don’t need much of a recap of the basic premise of the story, since if you know the original, you know: The demonish Beetlejuice is desperate to come to life, exploiting a recently dead couple, Adam and Barbara Maitland, and a grieving Goth teen, Lydia, to make that transition. The film version had a couple of musical numbers; this Broadway one features about 20, with some creative dance spectacles, too.

The show, with music and lyrics by Australian composer Eddie Perfect and book by Scott Brown and Anthony King, also feels free to strike its own notes when it comes to expanding and sometimes changing the storyline, which works out fine most of the time. You could say that Beetlejuice, with its frequently rude/crude/gross humor and profanity, is something of an acquired taste—not for everyone. But the audience at the Van Wezel the first night of the run (it’s here through April 27) was definitely in the mood for it, often laughing uproariously, applauding enthusiastically, and, in several cases, dressing up like Beetlejuice or Lydia.

The cast also throws itself into the production with verve. Justin Collette in the lead role uses his comedy/improv background to good effect, as his frequent “asides” to the audience, often straight out of a slightly blue standup routine, provide a lot of the laughs. Madison Mosley as the bereaved Lydia has a good set of pipes (although it can be occasionally hard to decipher every lyric), and Megan McGinnis and, the night I saw the show, Ryan Breslin, are convincing as the dead Maitlands, who’ve been too uncertain in their approach to living but get a second chance of sorts when they and Lydia join forces to fend off Beetlejuice’s worst intentions. Sarah Litzinger, playing Lydia’s new soon-to-be stepmom Delia (now characterized as a life coach rather than the artist she was in the film), is a treat to watch in her quick flits between loopiness and some kind of sincerity.

The songs range from clever and funny (“The Whole Being Dead Thing,” “Creepy Old Guy”) to more touching or rousing (“Barbara 2.0” or “Home”). The show retains the use of the movie’s Harry Belafonte numbers (“Day-O” and “Jump in the Line (Shake, Senora") to wrap up the acts. The numbers are well-staged and executed, without there necessarily being one you’re going to go home humming.

For many, the stars of Beetlejuice will be the scenic design by David Korins (from haunted funhouse to netherworld) and the imaginative enhancements provided by Michael Curry (puppets), special effects (Jeremy Chernick) and magic and illusion (Michael Weber). Then, of course, there’s the make-up and costumes (by Joe Dulude II and William Ivey Long, respectively) that help make the characters, especially Beetlejuice, stand out.

With choreography by Connor Gallagher, music supervision by Kris Kukul, and playing off the original Broadway direction by Alex Timbers, this touring company feels just as full, bright and packed with power as any Broadway one—not something you can take for granted in the touring world.

For tickets to Beetlejuice at the Van Wezel, call the box office at (941) 263-6799 or visit vanwezel.org.