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Hillbarn Theatre. “The Hunchback of Notre Dame.” Aug. 24 through Sept. 10. Based on the Victor Hugo novel and songs from the Disney animated feature, with new songs by Alan Menken and Stephen Schwartz. Directed by Riley Costello. Featuring Randy Ohara, Amandina Altomare, Christine Baker, Ryan Doyle, Luke Hamilton, Daniel Joseph Harper, Angela Harrington, Sammi Hildebrandt, Joshua Lau, Jasmine Lew, Jack O’Reilly, Brian Palac, Nicole Roca and Catherine Traceski. Hillbarn Theatre, 1285 E. Hillsdale Blvd., Foster City. $35-$50. www.hillbarntheatre.org or 650-349-6411, ext. 2.

SAN JOSE — On a day as bright and perfect as their dreams, thousands of San Jose State University students celebrated their graduation, the largest class ever from California’s oldest public university, About half the 9,791-strong Class of 2017 — also including undergraduates and graduates who completed classes last summer and fall — attended commencement at the university’s CEFCU stadium Saturday morning, Brimming with leis and bouquets, and tears and cheers, the celebration capped for many students years of studying and partying, For ballet flats with ribbons. wedding shoes flats. satin ribbon shoes. bridal shoes. bridal low heel shoes. peep toe flats. white g some, graduation was a day they thought would never arrive..

The gas sector must shut down by about 2040. Due to climate change, its prolonged existence seems incompatible with the survival of civilization. PG&E’s gas operation has been taking a beating ever since the 2010 San Bruno gas pipeline explosion and the subsequent exposure of the company’s poor maintenance and record-keeping. The electricity sector, meanwhile, is central to the conversion of our energy system to nonpolluting sources. It faces mainly technical challenges having to do with incorporating new storage and power management technologies.

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Friday’s opening benefited from expert leadership by McGegan in the pit, and lavish stage direction and choreography by Catherine Turocy, whose New York Baroque Dance Company brought a vivacious corps of artists able to navigate the gigues, gavottes, forlanes and other French dance forms specific to the score. Scott Blake’s set, augmented by Pierre Dupouey’s atmospheric lighting, turned the Zellerbach stage into an 18th century proscenium theater ornately framed in gold leaf. Projected backdrops suggested palace interiors and pastoral scenes, and the special effects were striking — in one scene, a group of muses danced downstage, while their projected images floated overhead.