Broadway Toasts the Tonys. And Zombies Take Over Midtown.

Cher likes to text — a lot.

“You never know when they’re coming or what they might be about,” said Stephanie J. Block, who won a Tony Award Sunday night for portraying the pop icon in “The Cher Show.”

The moment Ms. Block’s win was announced, her phone lit up with messages. “She texted: ‘Oh my, oh my god, oh my god,’” Ms. Block said. “And actually, there were no emojis, which is major for Cher.”

After the awards, Ms. Block and several dozen other Broadway bigwigs (both literally and figuratively) crammed into the Carlyle Hotel for the annual after-party hosted by Rick Miramontez, the publicist, and John Gore, a producer.

Laurie Metcalf, a nominee for “Hillary and Clinton,” came early, settling into a corner banquette in the Art Deco lounge. Billy Porter entered, like Scarlett O’Hara, wearing a red velvet outfit made from the curtain from “Kinky Boots,” for which he won a Tony in 2013.

Across the room, Taylor Mac, the author of the best play nominee “Gary: A Sequel to Titus Andronicus,” chatted with its nominated star, Julie White. Mary Wilson, the former Supreme, took a seat by the piano in the gold-ceilinged Bemelmans Bar.

“The Boys in the Band” — Matt Bomer, Andrew Rannells, Zachary Quinto and Jim Parsons — arrived all at once, animated by its win for best revival. “It was a night about women and L.G.B.T.Q. people and people of color,” said Ryan Murphy, the play’s producer, clutching his first Tony. “It was special.”

Winners kept arriving past 3 a.m. Celia Keenan-Bolger, honored for her role in “To Kill a Mockingbird,” collapsed onto a mustard-colored sofa. Judith Light, who received a humanitarian award, materialized in a pillar of Badgley Mischka silver lamé. And Jez Butterworth, the “Ferryman” playwright, held court at a table strewn with glasses, a wine bottle and his trophy.

Celebrating their victories for “Hadestown,” which won for best musical, were Rachel Chavkin, its director; Anaïs Mitchell, the composer; and Jordan Roth, the producer, wearing cardinal red Givenchy couture.

Bertie Carvel, who won a Tony for best featured actor for his portrayal of Rupert Murdoch in “Ink,” walked briskly through the hotel’s marble foyer, award in hand. Mr. Murdoch, he said, had attended performances in London and New York. “He came backstage,” Mr. Carvel said. “So he must have enjoyed the show.”

But unlike Cher, Mr. Murdoch had not texted to congratulate him on the win.

Zombies at MoMA

Monday was an eerie night to open a zombie film.

Warm mist clung low to the ground, even as dense fog obscured the skyline. And, hours before “The Dead Don’t Die” had its premiere at the Museum of Modern Art, a helicopter crashed into an office tower just blocks away, killing its pilot.

“It’s very strange,” said Jim Jarmusch, the writer and director of the zombie apocalypse film. “Strange occurrences.”

In fact, his film is less a meditation on death than it is a comment on material consumerism and environmental catastrophe. “The zombies are a metaphor for a broken social structure,” said Mr. Jarmusch, who made good on the film’s tagline: “the greatest zombie cast ever disassembled.”

Walking the red carpet from the film were Adam Driver, Chloë Sevigny, Selena Gomez, Steve Buscemi, Bill Murray, Danny Glover, Rosie Perez, Luka Sabbat and Austin Butler. The star-studded audience included Spike Lee, Gina Gershon, Anna Sui and Vanessa Hudgens. (Tilda Swinton was absent because of another production.)

Ms. Gomez called the film a “zom-com” that pokes fun at “the obsessions of our time.” These undead are drawn to things they were fixated on as humans, like their smartphones, coffee and “fassshhhion.”

Ms. Sevigny, a fashion plate herself, wore a poufy Marc Jacobs mini-dress with a train to the premiere, before changing into a Christopher Kane black leather short cocktail dress for the after-party at Kingside, a nearby restaurant.

She remarked on the spooky mist, which hovered in the museum’s garden like a graveyard. Mr. Sabbat, who followed her on the carpet, wondered if it could all be a marketing ploy.

“This is exactly the weather in the movie,” he said. “It’s very immersive.”

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