Remember when we counted age in half years and life was so full of wonders that in school they called roll in order to find out which kids were still outside looking at bugs?

Pat Hazell does. One of the four original writers of the “Seinfeld” series, Hazell is in town with his one-man show, The Wonder Bread Years, a nostalgic look at the world of the Boomer generation. The show plays through Dec. 31 at The Theatre in Old Town.

Hazell calls it a “field trip back in time.” An opening video pays tribute to the school bus, Betty Furness, Jell-O, Eskimo Pies, Silly Putty, the Slinky, Crayons, Hula Hoops, Smokey Bear and Tony the Tiger, among other icons of the era.

And the food we grew up on: Velveeta, Spam (Hazell wonders about “any food you need a skate key to open”), evaporated milk (“Shouldn’t the can be empty?”) and Hamburger Helper (Hazell opines that Liver Helper might make more sense).

Remember Kellogg’s fun pack of cereals, with the front of each box perforated so you could make a cardboard bowl and eat out of the box? Does anybody still do that?

How about mom’s admonition to save lunch bags and waxed paper? Hazell recounts that he dutifully saved the waxed paper from his sandwich and then waxed the slide with it: “Every butt touched my sandwich in the course of a week.”

An extended audience participation bit about show-and-tell yielded, in my audience, a man who reported taking a dozen incubating chicks (without the incubator) to school.

Dad and the barbecue, home movies (“When I was a kid, every slideshow began with people you didn’t know”) and the Christmas present scene – ah, those were the times. Share them with funnyman Pat Hazell.

The Wonder Bread Years plays through Dec. 31 at The Theatre in Old Town. Shows Thursday at 7:30 p.m., Friday at 8:00 p.m., Saturday at 5:00 and 8:00 p.m. and Sunday at 2:00 and 5:00 p.m. For tickets, call (619) 688-2494 or visit www.theatreinoldtown.com.

Rejecting this world and its limited expectations, “Neptune’s bastard daughter” Isabella (Jo Anne Glover) and her mates Jenny (Liv Kellgren) and Sally (Jennifer Eve Thorn) have become pirates, and are searching for El Mirago, a possibly imaginary island where they will set up their own utopia.

“To be an outlaw is still to be a part of this villainous world,” Isabella explains. “So why not start my own world?”

Along for the ride is the Viscountess Marlene (Don Loper), wed against her will at the age of 14 to an old codger who at least had the grace to choke on a peach pit at the reception. “I was left a fortune, a title and a hymen as tight as a drum,” she reports.

When they come upon a ship battered by a storm that has claimed all but three crewmembers, it seems almost an omen.

Lady pirates and bad weather, cross-dressing royalty and electrification, philosophy and romance, iambic pentameter and blank verse converge in playwright Liz Duffy Adams’ engaging Wet, or Isabella the Pirate Queen Enters the Horse Latitudes, presented by Moxie Theatre and playing through Dec. 10 at the San Diego Repertory Theatre. Delicia Turner Sonnenberg directs.

Captain Joppa (Tom Deák) surrenders to the fierce Isabella’s superior swordplay, and they set themselves to figuring out where they are. The compass seems to have disappeared, but Isabella has her ways: A lightning strike has turned Sally into a human compass.

The nature of freedom and the inevitability of war, the complications of love and the power (and responsibility) of choice are a few of the topics touched upon in Wet, part of Adams’ trilogy of road plays (which includes last year’s fabulous Dog Act).

Wet boasts more of the funny and thoughtful characters for which Adams is known, including Horatio (Laurence Brown), philosophical of nature and blank verse of speech pattern; Isabella, who says of life, “I strike at it and it strikes at me, and I will die having lived;” and Jenny, who pleads with the forces that be, “Take me if you want me, but don’t drown me in piss-ant pieces.”

Superbly acted all around and brilliantly directed by local wizard Sonnenberg (on a fabulous set by husband Jerry), this wacky and delightful production is a don’t-miss affair. Better hurry; it’s a short run.

Wet, or Isabella the Pirate Queen Enters the Horse Latitudes plays through Dec. 10 at the San Diego Repertory Theatre. Shows Thursday through Saturday at 8:00 p.m. and Sunday at 2:00 and 7:00 p.m., with a “pay what you will” performance on Dec. 4 at 8:00 p.m. For tickets, call (619) 544-1000 or visit www.moxietheatre.com.

Hank Williams, lonesome cowboy and shooting star of country music who influenced generations of singers to follow, is back to tell the story of his meteoric rise to fame and equally fast descent into alcoholism and early death.

Randal Myler and Mark Harelik’s Hank Williams: Lost Highway is on the boards through Dec. 17 at the San Diego Repertory Theatre. Myler directs.

Written 30 years ago, the show has aged well. It has been through several incarnations, including a stretch in 1992 at the Old Globe Theatre.

The action takes place somewhere in Alabama on a set with Corley’s Service Station on one side and Pete’s Diner (“home of fine food”) on the other.

Van Zeiler (who alternated the role in the off-Broadway version) does the honors capably here as Williams, the rangy kid his mother called Skeet “because he was always buzzing around like one of them bugs.” Hank’s father abandoned the family early, leaving “Mama Lilly” to bring up the three kids. Let it be said she was up to the task, especially in Margaret Bowman’s fabulous interpretation. Hard-headed but soft-hearted, she provided the push Hank needed.

Williams was helped early on by a street performer known as Tee-Tot, played here by a marvel of a blues singer named Mississippi Charles Bevel, who both knows his blues and can hold a note forever.

Hank sang with passion, but without much discipline, just the way he lived. Marriage at 21 to divorced single mom Audrey Rose (Regan Southard) gave him the motivation formerly supplied by Mama Lilly; Audrey was responsible for his eventual appearance at the Grand Ole Opry.

But Audrey had her own agenda. A self-styled singer herself (with a voice “so bad she had to sneak up on a song before she could sing it”), she wanted to share the Opry stage with Hank.

Williams lived hard and drank hard, especially after the marriage started to sour. Alcohol killed him at 29.

But whatever problems he had, Williams sang from – and spoke to – the heart better than most. Biographer Colin Escott puts it this way: “There can be few who haven’t felt as though Hank Williams has read their mail, their diary or their mind.”

Hank Williams: Lost Highway plays through Dec. 17 at the San Diego Repertory Theatre. Shows Wednesday through Saturday at 8:00 p.m. and Sunday at 2:00 and 7:00 p.m. For tickets, call (619) 544-1000 or visit www.sandiegorep.com.