Imagine a situation in which a vibrant young woman falls in love with a charming young man. They marry, have two children, and their dreams of life and love change a little. Eventually, the husband begins staying out late at night and comes home drunk. And finally, he leaves for good. He goes to faraway places, and sends one postcard that reads “Hello — Goodbye.” His wife is abandoned. His daughter is stranded. His son inherits a legacy of anger and frustration.

The plot is predictable and depressing, but in the hands of Tennessee Williams, it was poetically molded into “The Glass Menagerie,” one of the most poignant and remarkable plays in American theater during the past 50 years.

The play previewed last night at Penobscot Theatre, and will open tonight as the first performance of the 1993-1994 season.

Director Mark Torres stays faithful to the intentionally unrealistic atmosphere of the play. He follows in the footsteps of many directors who have chosen to leave out the screens and projections in Williams’ original script (a choice Willams sanctioned in his day), and creates a mood that is fascinating, frightening, and, at times, funny.

Lighting is often dim. The music (recordings by new ager Ray Lynch) emphasizes the sentimentality of the memory play. And the set (designed by University of Maine professor Wayne Merritt) is a St. Louis apartment that is unobtrusively draped in sheer black cloth — reflecting the emotional neglect and haggardness of its inhabitants.

It’s hard not to notice that the skill of the actors is somewhat uneven, particularly with an actor the caliber of Ruth Miller in the role of Amanda Wingfield. Miller’s is a showstopper — musical, captivating, illuminating. Her memories of gentlemen callers and the days of modern chivalry are recounted with grace, joy, and just the right amount of lunacy.

Robert Libbey, as the Gentleman Caller, is also a natural onstage. He moves smoothly through the trials of his character’s dilemma, and has a deft hand with the humor in his lines.

Robert Dunbar Hofmann, as the narrator Tom, is somewhat less interesting because he relies on obvious acting tricks. Too often he winces, gestures, shouts and mugs, so his performance gets tiresome quickly. Hofmann’s storytelling technique diappointingly lacks the rhythm of the poet he is portraying. He has moments that are funny, but they are grounded in a 1990s style of comedy, rather than the subtleties of Williams’ language.

Kirsten Skrinde captures the look of Laura, but falls short (at least in the preview) of showing her depth. Laura is not an easy role. She has the fewest lines of anyone in the show, but goes through the most trauma. Skrinde’s best moments are when she is in that silent trauma, and also when she loosens up a bit in the scene with the Gentleman Caller. The latter is one of the most tender scenes of the play.

“The Glass Menagerie” will be performed 7 p.m. Thursday, 8 p.m. Friday, 5 and 8:30 p.m. Saturday and 2 p.m. Sunday through Oct. 31 at the Penobscot Theatre. For tickets, call 942-3333.