Pat Hazell
From Seinfeld to The Missouri Theatre, Pat Hazell chats with us about his up-coming performance, “The Wonder Bread Years”
In a world that moves forward at breakneck speed, Pat Hazell invites audiences to pause, open a Capri Sun, and remember what made growing up in mid-century America so wonderfully weird and heartwarming.
Hazell, a veteran comedian, playwright, and original writer for Seinfeld, brings his celebrated one-man show The Wonder Bread Years to the Missouri Theatre on October 4. But this isn’t just another stroll down memory lane. Hazell offers something deeper, a shared experience that blends stand-up, storytelling, and collective laughter. From Halloween costume mishaps to the sacred chaos of the kid’s table, his “The Wonder Bread Years” strikes a nostalgic chord that audiences everywhere can’t get enough of.
“I wanted to write a thesis on our collective sense of wonder, where we lost it and how we get it back,” Hazell says. “Those coming-of-age years were when we were the most wide-eyed and curious, and so many funny things happened.” Over the years, Hazell’s own perspective has changed. “I’ve gone from being the son making fun of my parents to the parent who tells stories with lots of details but little to no information.”
That sense of timing and relatability comes from years working in television. “From working in broadcast TV, I learned to write for a broad audience and keep my material safe for everyone,” Hazell says. “Jerry Seinfeld appreciated my observations, and being in that world gave me a view into how a television series is made. But I always wanted to maintain my own voice, so I created the one-man show to keep performing during hiatuses and off seasons. It let me keep my comedic muscles in shape.”
What makes The Wonder Bread Years so special is its focus on the everyday. “I wanted to find the common denominators. I look at a day in the life of a kid and a year in the life of a kid,” Hazell says. “Cereal prizes, sack lunches, sitting at the kids’ table, saving gift wrap on Christmas morning, road trips in the wayback of the Country Squire wagon, Evocative things that everyone can relate to.”
Hazell customizes each performance based on where he’s touring. “The show is never exactly the same. I’ll reference local landmarks, adjust my language depending on whether folks say pop, soda, or coke,” he says. “In Saint Joseph, Missouri, I’ll probably mention Jesse James and the Pony Express. The mail can get out of town, but not the outlaws.”
Though he has worn many hats including stand-up comedian, playwright, and producer, Hazell says it’s the energy of live performance that keeps pulling him back. “Everything I do centers around creativity, but nothing compares to the thrill of a live show. It’s like surfing a wave of laughs. That adrenaline rush is what keeps me coming back.”
In a time when nostalgia seems to be everywhere, Hazell’s show connects on a deeper level. “It’s comfort food for the soul. With so much uncertainty in the news, politics, and the world, being able to sit with a group of people and laugh for 90 minutes is a powerful escape. You realize just how much we all have in common.”
Hazell’s comedy doesn’t rely on shock or controversy to get laughs. “There’s so much humor in everyday life. It’s just about framing it the right way,” he says. “Clever comedy is making a comeback. You don’t need to be offensive to be funny. You just have to be honest. Laughter and hope are two of our most important survival tools today.”
Even after decades of creative work, Hazell isn’t slowing down. He’s currently writing a book titled Someday I’m Gonna… which offers guidance for living a creative life and finishing projects like screenplays, books, or TV shows. He also hosts a weekly podcast called Creativity in Captivity where he interviews some of the biggest names in arts and entertainment, from Pixar’s Pete Docter and director Frank Oz to comedian Jerry Seinfeld and even St. Joseph’s own dinosaur sculptor Gary Staab.
Despite all of his success, Hazell stays grounded in his mission to entertain, to connect, and to remind audiences that joy is never far from reach.
If you’re craving a night of laughter, nostalgia, and connection, don’t miss The Wonder Bread Years at the Missouri Theatre on October 4. Whether you grew up in the wayback of a station wagon or just want to feel like a kid again, Pat Hazell will take you there, one story at a time.
For Tickets; go to TicketsToTheShow.com
Martial Thevenot
Martial is the Businessman Who Brought Boardroom Brains to the World of Art and Still Made Time for Dad Jokes
For some, the arts are a weekend indulgence. For others, they become a life mission. In this month’s Arts Talk feature, we profile a our good friend, Martial Thevenot, whose journey into the creative world began with a simple invitation and evolved into a passion for building thriving, joyful communities. He’s equal parts business strategist, community advocate, and old-school gentleman with a wardrobe that tells a story and a laugh that’s always on the table.
It all started with a teacher.
“I was first invited to get involved by a respected grade school teacher of our children and it sparked something in me,” he recalls. That spark turned into a flame, fed by a piece of advice from his father: “What if life were a stage and we were all actors?” That Shakespearean idea planted early would eventually blossom into board service with purpose. “I’ve had a penchant for role-playing, so the opportunity felt natural,” he says. “The deeper I got, the more I saw the vital role the arts play in creating healthier, happier, more thriving communities.”
Board service offered more than just a backstage pass. It revealed something fundamental about the people behind the curtain. “What surprised me most,” he admits, “was that those who immerse themselves in the arts as supporters, participants, or even avid fans seem to be happier, healthier, longer-living, and incredibly generous. There’s a vitality and warmth among arts lovers that’s truly inspiring.”
Now, as his board term ends (at least for now), he reflects on what he hopes will remain. “I hope to be remembered for the enthusiasm and passion I brought for understanding the broader life value of the arts and for doing my best to share that through words, actions, and resources alongside an incredible team.”
Balancing board service with business leadership might seem like a high-wire act, but for him, the two were never in conflict. “As with all my service and volunteer work, I strive to blend the two,” he explains. “Being a business owner gave me the flexibility to cross-apply insights from bringing the lessons of volunteering into the business world to helping introduce operational and fiscal tools and tactics into the arts association.” he adds “Doing good is good for business” and vice versa, especially when it builds a culture of teamwork and synergy. His hashtag of choice? #dosomegoodery.
That philosophy extends to how he views leadership in general, especially for those just stepping into the arena. “Never stop learning. Read. Work on self-awareness and recognize your ripple effect on the world,” he says. “Success often stems from optimism, responsibility, integrity, generosity and a strong work ethic but also from kindness, service and uplifting others. Business isn’t a solo act.” His advice? Find the right partners, allies, mentors, and cheerleaders and help them win. “If they are well engaged and feel safe, they will be game changers.”
Naturally, in classy fashion, we asked: if your wardrobe told your life story, what would be in the museum?
His answer is pure class with a touch of flair.
“A classic suit jacket or blazer, sometimes with a tie. Professionalism was practically stitched into my upbringing.
Clean, comfortable shoes or boots because details matter and being prepared and able to go the extra mile matters.
A bold costume piece and a hearty smile. A nod to a love of fun, color, raising curiosity à la PT Barnum, prompting smiling faces and sparking positive conversations.
And now that his schedule is more his own? He’s not slowing down. He’s speeding up. “I have to move!” he laughs. “Whether it’s ice hockey skating or shooting pucks on ponds, at rinks, or on backyard synthetic ice, swimming laps, biking, brisk walking. I stay active. Mind and body both feel better when I’m in motion. I’m not a good napper at all!”
Ask his family what relaxed looks like for him, and the answer is as vibrant as you’d expect.
“Enjoying a lively Sunday dinner whether home cooked, grilled or Ubered. Any opportunity for cracking puns and dad jokes while savoring food and beverages made with creativity and flair. Some people eat to live. I live to eat, especially with loved ones around a joyful table.”
In the end, this Martial’s story is one of seamless integration. Style meets substance, business meets service, and the arts are the heart of it all.
On behalf of the Performing Arts Association, their staff, board of directors, and long time patrons: Thank you, Martial, from the bottoms of our hearts!
Scott Chesak
In an exclusive sit-down with Performing Arts Association, the genre-jumping producer opens up about trading live chaos for studio precision and how a throwaway jingle turned into a Weezer anthem.
“When I first fell in love with music,” he says, “I fell in love with albums. I’d turn off all the lights, crank my headphones, and get lost in the sonic universe of a recording.” That obsession didn’t just fuel his early dreams. It redirected them. Despite the rush of live performance, it was always about the studio. “Eventually, touring took a toll. I knew I had to make that leap of faith.”
That leap landed him behind the boards on Pray for the Wicked by Panic! at the Disco, where he kicked off the album with the thunderous “(Fk A) Silver Lining.” “I wanted something with a ton of energy,” he says. “It started with chopping up break beats, playing organ and guitar.” He trusted his instincts and let it ride!
Touring with powerhouse front man Gerard Way was its own kind of education. “Gerard’s authenticity left a mark. He’s not putting on a show. He is the show. One of the kindest people I’ve met in the industry. No rockstar ego. Just real”.
When asked about the strangest place he’s heard his music, he laughs. “A K-pop song I worked on ended up in a Dance Dance Revolution game. I bought it just to try it out and immediately failed. It was brutal.” But the biggest surprise? “Random fans sending me covers of my songs. That’ll always be the biggest honor.”
Perhaps the wildest ride of his studio career came with “Wind in Our Sail” from Weezer’s White Album. What started as a pitch for a TV commercial turned into a full-circle moment.
“My publisher heard it and said, ‘This is too good for an ad.’” So he pitched it to Evan from Crush Music, Weezer’s manager, who liked the bones but pushed for a rework. “I redid it. He still wasn’t sold. Then my friend Ryan Spraker jumped in and gave it that missing magic.” The track nearly died on the vine multiple times. “Then one day I’m backstage in St. Petersburg, Russia, and get an email. ‘Weezer’s going to release it on their new album’. Rivers [Cuomo] added a new brilliant lyric and killer melody.” Boom. It’s alive!
It was during the Weezer project that the realization hit. “People I’d known for years started looking at me differently. I wasn’t just a sideman anymore.” Though it didn’t mean an instant exit from touring, it marked the start of a new chapter. One that would ultimately define his career.
While many producers burn themselves out chasing the next viral sound, he keeps a different compass. “If it’s already in the top 10, the trend’s over. It’s pointless chasing what’s popular right now. You have to trust your taste and always serve the song.”
Advice for the Kid with the Dream? “Advocate for yourself now,” he says without hesitation. “No one else will do it for you.” It’s that self-determination that carried him from teenage fandom to Grammy-level production credits.
When asked who he’d want to work with—living or dead—Scott doesn’t reach for the usual legends. No Freddie. No Bowie. No Billie. Instead, he sets his sights on the unknown.
“I’d want to find that undiscovered once-in-a-generation talent,” he says. “The kid with zero followers, changing the world from their bedroom. That’s who I want in the studio. Let’s make something no one’s ever heard before.”
Scott, thanks for taking time out of your schedule to chat with us for our Performing Arts newsletter!
Click here to see Scott on tour with All American Rejects
Click here to see Scott on David Letterman playing Keyboards and singing backup for Christina Perri.