BANGOR – Alfred Uhry packed a lot into his 90-minute play “Driving Miss Daisy.”

Racism, ageism, sexism and class schisms are all there, but so is the shared humanity that has the potential to bridge all the gaps between the isms.

“Driving Miss Daisy” is a three-character play that spans the 35-year relationship among Daisy Werthan, her son Boolie Werthan, and Hoke Coleburn, the black man hired to be her chauffeur when Miss Daisy can no longer safely drive herself. Set in Atlanta, the characters are rooted deeply in Southern culture and history.

Penobscot Theatre’s production of Uhry’s 1987 play that won a Tony, the Pulitzer Prize and an Oscar successfully mines all those depths. As the opening show of Scott R.C. Levy’s third season as producing artistic director, it bodes well – Levy appears to have hit his stride.

While race is a vivid thread that runs throughout the play, Levy rightly does not allow it to overshadow the playwright’s other themes. In one of his most successful turns in the director’s chair, Levy’s cohesive yet gentle vision for the piece capture’s all Uhry’s subtleties and weaves a delicate yet complex tapestry that captures the humor and the pathos of aging.

A black actor on the Bangor Opera House stage is a rarity. One with the skill and experience of Joseph W. Lane is rarer still. The actor brings to life a man who is servant, caretaker, foil and friend, but never slave, to Miss Daisy. Lane embodies rather than portrays Hoke.

The relationship between black servants and white employers in the pre-civil rights South were complex and unlike those in other parts of the country. Lane captures all the overt and subtle layers of the alliance forged among Miss Daisy, her son and Hoke. The actor’s performance is perfect.

Arthur Morison as Boolie is Lane’s equal on every level. He is the son, who, in his mother’s eyes will never be an adult, along with the shrewd businessman and community leader. But, in one sense, he and Hoke are equals as they conspire to save Miss Daisy from her stubborn drive to remain independent.

The scenes between Boolie and Hoke are so charged with energy that they sear the souls of theatergoers. As they negotiate Hoke’s salary, both men realize that on one level they are alike and both delight in it.

As Miss Daisy, Sofia Wilder captures the woman’s stubborn independence and acquired dignity. The actress shines when she reverts to the schoolmarm Miss Daisy was as a younger woman and in portraying the aging matron’s vulnerability.

She is less successful at showing Miss Daisy’s strength and bitter self-denial. Wilder wears the woman’s fear like a worn shawl, a bit too close to the surface. A tad more anger at the forces that have on the one hand given her such prosperity yet stripped her of her husband and her independence would create a more well-rounded portrait.

Lex Liang’s set and costumes along with Shon Causer’s lighting create an autumnal mood that sets a lovely and loving tone for the production. Robert Waldman’s original music complements it all but never overpowers the play or its characters.

“Driving Miss Daisy” is a reminder that, in the end, what really matters is that we treat our fellow human beings with kindness and respect. At a time when ethnic conflicts and war dominate the news, PTC’s production is a welcome and much needed gift.

“Driving Miss Daisy” will be performed through Sunday. For information, call 942-3333 or visit www.penobscottheatre.org.