Amador and Eerebout also layered in outfits by Adrian Manceras and Armani Privé, the Italian label’s couture branch. “Styling for Gaga’s stage is very different [than for red carpet or editorial],” says Amador. “We have quite a large space to fill, and we need to make sure everyone in the theater gets a full view of the fashion.” Adds Eerebout, “Billie Holiday and Eartha Kitt were specific references, they always looked fabulous. Sarah Vaughan and Dinah Washington were also big inspirations. More, here, is essentially more!”
In “Jazz & Piano,” more is indeed more—brassy horns, bawdy cheek, and belting vocals all included. But more, in this case, never comes across as excessive or even indulgent; Gaga is above all else a seasoned and master performer, working the crowd with song, stories and funny one-liners. “If you brought your kids here tonight,” she remarked at one point, “you’re a fucking idiot.” (In the end, the show is PG-13 at most—there’s nothing too salacious.)
Yet the ultimate takeaway from “Jazz & Piano,” which runs through Halloween this time around (with future dates to be announced), is that it’s enlightening. Most people know and love Gaga for her anthemic pop, but to see her in this context, in a more classicist vein, is even more of a treat. It made me want to listen to more jazz. It made me want to listen to more Gaga. And it made me want to go back to Las Vegas.