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All us critics have little things. Little things we do, peculiar specialities,
personal critical G-spots. For some, it’s the bread that’s the bellwether;
for Michael Winner, it’s the size of his table and his orange juice. I’ve
known food critics who can become puce over settings, butter dishes and
steak knives. I know one who orders things that aren’t on the menu. And
there was said to be a memorable, possibly apocryphal, Australian critic who
specialised in creating catastrophes. He’d bring his own cockroaches and dog
turds. He’d be sick on the reservations book, and gave a particularly gothic
epileptic fit. Legend has it that he was finally moved to provincial theatre
after an altercation with a flambé trolley that left a lady diner entirely
bald and a wine waiter naked.
These are the small, arbitrary divining rods critics whittle for themselves,
and I try not to have any. I want to go to every meal as if it were my first
— or last. But I’m a creature of habit (I wish I could still add “all of
them bad”, but now they’re mostly just boringly repetitive), and there are
things that always snag me.
Like deer. If there’s venison on the menu, I have to ask what sort. Do you
know how many species of deer are wild in this country? Neither do I, but
they range from muntjak, the size of a wet poodle, to red, which is like a
small horse. They’re all very different. Restaurants wouldn’t write antelope
on their menus: they’d specify springbok or kudu. So why not deer? By the
way, do you know the defining difference between deer and antelope? It’s the
horns. Deer shed, ’lope don’t.
Anyway, I was in Pétrus and there was venison on the menu. So I ask the waiter
what sort. “It’s deer.” What sort of deer? “It’s young deer.” No, what sort
of young deer? He begins to look around, with the first swell of panic.
“It’s young, wild, happy deer.” No, what... “Look, I’ll go and ask.” He
scurries off to the kitchen, and I’ll bet a fallow to a wapiti that Marcus
Wareing’s saying: “Shit, we’ve got that bloody AA Gill in.”
The thing is, I know the answer: it’s roe. It’s always roe — saddle of roe. I
just have this nerdy, trainspotterish need to quiz waiters about edible
ungulates. It’s pathetic. My rationale is that staff should be knowledgeable
about menus (and so they should), but I also admit to something horribly
geography-teacher, Friday-quiz about this. What’s worse, I never order it.
Anyway, I’m in full geography-teacher mode when I notice that there are frogs’
legs on the menu. I catch the waiter’s eye. Nervously, he approaches the
table, zigzagging.
The frogs’ legs ... “Yes?” Where do they come from? “Frogs.” Nice try. It says
here they’re from the Ardennes.
“I, too, am from Belgium,” offered the waiter. I badly wanted to ask if he had
frogs’ legs, but I didn’t — and I hope St Peter has made a note of it. “I’ll
go and ask.” He cut for the kitchen, returning, I noticed, a little
dishevelled, as if someone had held him up against the wall by his lapels.
“They are definitely from the Ardennes, chef says.” Fine. Well, we’ll have
some, then.
This wasn’t like the deer question. The frog question has a point. The
European breed of edible frog is rare, and although Belgium does have a
little frog harvest and exports a few, Europe as a whole imports 6,300
tonnes of frogs’ legs a year. France consumes 3,500 tonnes of them. Seeing
as each pair of legs can’t weigh more than a couple of ounces, that’s un
grand mess de frogs. There used to be bullfrogs from Bangladesh
and India. Now, though, almost all of them come from Indonesia. Bangladesh,
one of the poorest countries in the world, banned the export, along with
India, because the rise in crop-eating creepy-crawlies made it uneconomic.
And here’s the good bit: Indonesia now has to import 25% more pesticides to
make up for the absence of frogs. It’s estimated that a smallholder in a
sarong has to use $5 of pesticides to harvest $2 of frogs, and that the
country spends $30m to make $10m. Still, it’s not all bad news. Guess who
sells them the pesticides? Now European chemical workers can afford to eat
frogs’ legs and the Indonesians get new sorts of cancer — and the chance to
take part in free trade.
Oh, here come Kermit pieds, so no need to fill our pretty little heads with
all that. Mmm, they’re delicious. So clever of Marcus to find the only
Belgian frogs with gout.
Let’s avert our gaze and think of higher things — like the red-velvet
wallpaper. Pétrus has moved to the Berkeley hotel, where it has been done up
by David Collins, who appears to have been inspired by the inside of his
jewel box. And who wouldn’t be? Stuck into the red plush are lights that
could have been dodgy 1950s cuff links. I yearned for a plastic ballerina to
circle in the middle of the room on a mirror to the sound of the Blue
Danube. It all made me feel a bit like a rejected engagement ring, but the
tables are a good size and well spaced — though oddly, some chairs have arms
and others don’t.
The old Pétrus was one of the few restaurants I’ve given five stars to, and I
see no reason to reconsider. I still think Wareing is probably the best chef
in London who’s still fiddling with froggy members. The menu is a joy of
restrained aesthetic opulence. Wareing’s great talent is in knowing
precisely when and where to stop. There’s never a flavour out of place or a
de trop garnish. You can eat off the carte for £55, or you can do what I did
and choose from the set lunch menu: three courses with twiddly bits for £26.
And that is the best deal in London. Go now. Go often. Don’t tell your
friends. Rip this page out of the magazine before your wife sees it.
I’m not going to single out dishes — just one amuse-bouche. Normally, I hate
these little bits of impertinent, inter-course palate-frotting. But a glass
of tomato gazpacho flavoured with pineapple and vanilla was shout-out-loud
amazing. I did shout out loud, which is what attracted the waiter, which is
why I had to do the deer thing. If they put vodka in this soup, they’d never
sell another bloody mary.
Anyway, Pétrus. A benchmark. A frog in a velvet box.
Lunch, Mon-Fri, noon-2.30pm; dinner, Mon-Sat, 6-11pm
AA Gill is a features writer and restaurant critic for The Sunday Times and he writes regular travel pieces for The Sunday Times Magazine, for which he has won two Glenfiddich Awards
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