Joseph Lane sits in the rehearsal room at the Bangor Opera House, grasps an invisible steering wheel and puts a nonexistent car into park during a recent run-through of Penobscot Theatre Company’s “Driving Miss Daisy.” He turns to Sofia Wilder, who’s sitting in the “back seat,” with a look of resignation.

“Things changin,’ but they ain’t change all that much,” Lane drawls, and the words sound like melted butter.

It’s hot in the third-story loft, and the tension between these characters – Daisy, a wealthy Jewish widow, and Hoke, her African-American chauffeur-turned-best friend – is tangible. That one sentence, one small line, crystallizes the central struggle in Alfred Uhry’s play.

“I think tolerance takes on many different forms,” said Scott Levy, producing artistic director for Penobscot Theatre Company.

Tolerance, diversity and acceptance are themes Levy has consistently explored since he moved to Bangor from New York in 2005.

With “The Laramie Project” and “I Am My Own Wife,” he tackled issues of sexuality. “Spinning into Butter” dealt with racism. And with last winter’s “Santaland Diaries,” Levy pointedly brought a Jewish elf to the stage at Christmastime.

Though the script is short and the cast consists of only three characters, “Daisy” covers a lot of ground – racial issues, tolerance, religious discrimination, aging and the nature of friendship and love.

“It just goes to show how human beings can have a loving spirit and actually care about and for each other,” said Lane, a Washington, D.C.-based actor who has a lengthy background in regional theater and television, including HBO’s “The Wire” and NBC’s “Homicide: Life on the Streets.” “I think it’s a positive, human-spirit story in a great way.”

Though many are familiar with the 1989 film version of “Driving Miss Daisy,” Uhry’s play made its debut in New York in 1987.

“It’s a very cinematic play,” Levy said.

And the props reflect that. PTC’s resident designer, Lex Liang, created a pared-down set with a “portal” to mark the interior scenes. Two stools represent the car. A color theme of golds and browns symbolizes Daisy’s golden years, the autumn of her life. Set in Atlanta, the play uses dialogue and dialect – rather than elaborate sets and action – to move the story forward. Though it spans 25 years, the story moves forward at a steady clip.

“There’s something very wonderful about September in Maine – this is the most gorgeous weather, so why not do a play that’s 90 minutes long with no intermission that is very sweet and heartwarming and funny?” Levy said. “I really think [‘Daisy’] has a lot of qualities this community wants to have from its theatrical performances.”

The actors find the play equally heartwarming. For Wilder, an Orono resident whom Levy met during a stage reading, “Daisy” is about prejudice and, later, acceptance. Arthur Morison of Ellsworth, who plays Daisy’s son Boolie, sees his character’s relevance to younger generations who are dealing with aging parents.

“He sees the relationship between Daisy and Hoke before even they do,” Morison said. “It’s so comforting. They get along so well, they take care of each other and they obviously care for each other. It’s incredibly comforting to know there’s someone there.”

And though Hoke may insist that things “ain’t change that much,” “Driving Miss Daisy” sends a message that things can change – with understanding, caring and time.

“We all need interaction in order to survive or grow or learn, no matter our age,” Levy said. “It’s never too late to change your preconceived notions.”

River City Cinema will present the film version of “Driving Miss Daisy” at 8 p.m. Saturday at the Bangor Opera House. Tickets are available at the door and cost $5.