By Daniel Paul Simmons III, ZAGAT.com staff editor
Few restaurants in recent memory have drawn as much pre-opening attention as Alinea ('uh-LIN-ee-uh'), Chicago chef Grant Achatz's ambitious New American. For nigh on a year, it had gourmets salivating, Internet chat sites humming and the media buzzing, with some pundits proclaiming it possibly the country's best dining destination – even before it delivered its debut dish in early May.
Why all the hoopla? Alinea – whose name refers to an old typographical symbol indicating 'a new idea' – is the latest, most high-profile U.S. example of a global movement known as molecular gastronomy, a burgeoning discipline that applies science to the art of cooking, resulting in always inventive, sometimes bizarre creations (see the dishes pictured at the bottom of this page) that redefine 'cutting-edge cuisine'.
Zagat surveyors who've managed to snag a seat at what has rapidly become one of Chicago's toughest culinary tickets have been weighing in, and most report "a marvelous experience" "indulging" in "outstanding," "ethereal" cooking that "wows the senses" "like nothing before" – as reflected in our preview review below. First, though, the much-talked-about toque shares his own insights on his celebrated new venture.
Zagat Survey: What kind of customers have you been getting?
Grant Achatz: The first ones in the door were hard-core foodies who made their reservations when we opened the phones in February. Then we had an influx of destination diners from all over – New York, Los Angeles, Tokyo, the U.K. Now we're seeing a lot of locals; they joke that having us as their neighborhood restaurant is going to kill their pocketbooks!
ZS: Long before Alinea, you were known for dishes that reflect a certain theatricality. How important is that aspect of your work?
GA: It's paramount only behind taste. We try to give people a lot of different emotions throughout the meal – surprise, intrigue, anticipation – so when they walk out, they realize they just had a really complex experience.
ZS: And how does the restaurant's environment play into diners' perceptions of the cuisine?
GA: We wanted the interior to reflect the philosophy of the food, from the modern architectural details and color palettes to the one-of-a-kind kitchen equipment to the custom-designed serving ware. Every aspect was formed around this central idea.
ZS: You come from a family of more traditional restaurateurs; how do your parents react to your work?
GA: If they didn't like it, would they tell me? After all, your mom's your mom... But I think they're excited, and proud. Also I believe they really enjoy it – they're open-minded folks.
ZS: What would you say to someone who's not so open, who thinks your dishes sound outlandish?
GA: You know, I can describe a dish, make analogies to other dishes, reference historic flavor combinations, talk about textures and aromas. But the only way to judge it is to actually eat it. One of my favorite things is when we have a party of four, and three are really excited but the fourth was dragged along. I love to show naysayers that food can be creative but taste good too. We take great pride in putting flavor and taste first. If we come up with an interesting technique but it produces something that doesn't have the desired effect on the palate, we just won't use it.
ZS: Who are your inspirations?
GA: Paramount is Thomas Keller. I worked for him for four years at The French Laundry, and he's the mentor who really led me down this path. El Bulli [near Rosas, Spain] is obviously a phenomenon, and what [Ferran and Alberto Adrià] have created there is unprecedented. Heston Blumenthal at The Fat Duck [in Bray, England] has been wildly successful. Also Wylie Dufresne at WD-50 [in New York]. And it's popular right now to say that France is dead, but I don't believe that: Pierre Gagnaire [of Paris' Pierre Gagnaire] and Alain Passard [of L'Arpège, also in Paris] might not be quite as far out [as some], but they're still doing creative cooking with integrity and discipline.
ZS: With chefs such as yourself, Homaro Cantu at Moto and Graham Elliot Bowles at Avenues, Chicago has become a center for such forward-thinking cuisine. Why?
GA: Some days I think it's just coincidence. I spent time at Charlie Trotter's and then took the position at Trio [now Trio Atelier], so it was natural for me to stay here once I'd established myself. When I went to Trio in 2001, [owner] Henry [Adaniya] and I were batting around concepts, and I said right up front, my food's going to be different and risky. But then it was accepted wholeheartedly, so that set some precedents. At the same time, though, you can argue that this isn't an entirely new thing.
ZS: How so?
GA: Chicago's had a strong culinary backbone for a long time. Rewind the clock 18 years to when Charlie Trotter's opened: I remember reading articles about how he was this wacky avant-gardist, putting Asian influences on the same plate with French ingredients. And then along comes Rick Tramonto [of Tru] doing his own artistic version of French food, weaving in different cultures. So it's a natural progression.
ZS: Are we going to see more Achatz outposts, perhaps in Las Vegas or New York?
GA: No, I haven't even considered it yet. We need to funnel all our energy into this. The first outside project will hopefully be some kind of cookbook [about] the Alinea philosophy.
ZS: There does seem to be interest in the mechanics of molecular gastronomy...
GA: Actually, I don't know how relevant the term 'molecular gastronomy' is for us. Heston kind of coined that phrase, and it's fitting for him and for more science-based cuisine like at Moto, but science is not our focus, or even our starting point – it's merely a tool. There's this idea that you have a team of 20 guys with white coats and test tubes in a laboratory, poking and prodding food into something that looks totally manipulated. But I want people to know that it starts with the food. This is just creative, artistic cooking.
Photo Gallery
photo credit: Grant Kessler
Comfort Food Redux
PB&J: A peeled and heated grape, dipped in a peanut purée then encased in a thin layer of brioche and toasted
Click here to view larger photo
Not Just For Breakfast
Bacon: Dried applewood–smoked bacon wrapped in butterscotch and apple leather, with black pepper and thyme
Click here to view larger photo
Gum, Grown Up
Mastic: Pulled mastic (an aromatic resin of the mastic tree), with toasted pine nuts and rosemary blooms
Click here to view larger photo
Elevating the Overlooked
Broccoli Stem: A single broccoli stem poached until tender, sheathed in brioche, sautéed until crisp then garnished with wild steelhead roe, broccoli floret purée, grapefruit rind purée and broccoli flowers
Click here to view larger photo
Chef Grant Achatz
Click here to view larger photo