“Evita” should captivate. “Evita” should mesmerize. With its grand dance numbers, its famous songs, and the legendary woman behind the title role, “Evita” should be larger than life.

This weekend at the Lincoln Theater, the national touring company’s production of the hit Andrew Lloyd Webber musical was none of those things.

Perhaps it was the distraction of the bobbing, feather-haired head only a few rows from the stage. Or maybe it was the coughing fit musical accompaniment a few rows behind her. Whatever the reason, the production never quite managed to grab the audience’s attention, to capture them and whisk them away on what could have been a magnificent journey.

To begin with, the show seemed out of place on the Lincoln Theater stage, which felt too small for the elaborate production. In the first scene, a projected film that usually cues the audience to the movie theater setting was conspicuously missing. Often, the staging was cramped and claustrophobic. Even the lighting seemed a bit odd at times.

Such technical obstacles — and the tech was really quite impressive — are to be expected from a touring company, which must readjust for each new venue. It should have been the actors who picked up the slack, the actors who added that extra sparkle. But the acting was lackluster.

There were no real mistakes to speak of. Technically, each performance was spot-on. But the energy was what you might expect from a troupe that had just left San Luis Obispo at 5 a.m. and arrived in Yountville for two performances before the end of the day and another before the end of the weekend.

Cameron Leigh Wade starred as Eva — or “Evita” — Peron, the charismatic film actress turned first lady of Argentina. A beautiful girl with a pristine voice, Wade was flawless in the challenging vocal role, always technically precise and lovely. But Eva Peron — the much loved and often hated historical figure — wasn’t lovely. She was strong-headed, stubborn and bold. Wade, 21 years old, was delightful, but she never managed to challenge the depth necessary to the portrayal of Peron. And in the end, I like my Evitas a little feisty.

Omar Lopez-Cepero was, for the most part, engaging as Che. A slightly less vaudeville version of Mandy Patinkin, he had a real presence about him, a strong voice and a charming personality.

But it was Philip Peterson as Juan Peron whose charisma stole the show. Strong, powerful and human, Peterson dominated the stage by merely walking across it. With his beautiful voice and demanding stage presence, Peterson carried the cast.

Some members of the ensemble gave stand-out performances as well, including Stephanie Barnum, originally from Benicia, in the role of Peron’s mistress. Dancer Alfie Parker Jr. shone in every number. When the rest of the cast seemed tired and bored, Parker infused energy into each and every movement.

Mention should also be given to the orchestra, which was often the highlight of the show.

The real topic of conversation among members of the audience, though, and the source of much debate, was what may have been the only real, authentic aspect of the show. On stage, actors puffed on cigarettes and cigars, and the smoke hung thick in the theater. Even when one forgot the words Evita spoke to her people, or the melody of her song, still the sweet scent of burnt tobacco lingered on one’s clothes and hair well into the night.