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The next day, I stopped in at Olives, a brightly painted outpost of Todd English's Boston restaurant, perched just outside the Giorgio Armani boutique. I had an octopus salad that consisted of one giant, charred tentacle and a few stewed beans; something that resembled a broad, superthin pizza with gorgonzola cheese, prosciutto and dried figs; and a tasty chunk of grilled yellowfin tuna atop a roasted onion, filled with polenta, balanced on a wad of steamed spinach and drenched in a sweet, quasi-Asian sauce. Mediterranean or Martian? You decide. It must be a Boston thing. I was happy that I was going to have a big dinner.
If there is a grander restaurant in Las Vegas than the Bellagio's showplace Picasso, I have yet to see it. The vast, hushed dining room has a splendid vista of the hotel's dancing fountains (although nobody really looks at the fountains) and sports giant bouquets that could have been plucked from a Cezanne still life (nobody really looks at the flowers either). The vaulted brick ceilings recall formal Spanish wine caves, although at five times the height. But the restaurant is designed as the ultimate display case for Steve Wynn's collection of actual Picassos--a dozen or so oil paintings and a handful of original ceramics positioned around the room and glowing with the soft nimbus of holy relics. Even the waiters, who are presumably used to them by now, seem to be in constant awe.
To accentuate the provenance of the art, perhaps, Wynn lured to Las Vegas Julian Serrano, the Spanish master of French haute cuisine who was chef at Masa's (possibly the most exquisite French restaurant in San Francisco), as well as much of his staff. To establish the seriousness of the restaurant, perhaps, dinner is available only from fixed-price, multicourse tasting menus (set at $70 or $80 per person), and although the wine list is fairly deep, especially in oldish bordeaux, the staff suggests that you let them pair each dish with a wine served by the glass.
"The squab with the sauce gibier!" the man at the next banquette cried to the maitre d'. "God, how I've missed Julian's cooking."
That night there was a warm lobster salad with tiny greens and a truffle vinaigrette; and roasted day-boat scallops, still wiggly, seasoned simply with salt and pepper, sat on a bed of liquid potatoes that must have been half butter by weight and were anointed with a teaspoonful or so of herb-in-fused meat stock. A crunchy, caramelized slab of seared foie gras was glazed with madeira wine and served with a glass of the sweet Tuscan rarity Castello Di Ama vin santo: heaven. Roast lamb was blackened with bits of truffle; crisped Florida snapper breathed a summery fragrance of basil, tomato and garlic. Picasso is a sober attempt to create a three-star restaurant within the context of Las Vegas, and it pretty much succeeds.
EXCEPT FOR SERBIAN newscasters, Xuxa and possibly Dr. Gene Scott, Emeril Lagasse may be on television more than I anyone on this planet, a leering, spice-flinging presence who seems to hog the Food Network something like five hours a day. With his ubiquitousness, his nervous energy, his willingness to show bellowing frat kids the correct way to kick a spinach quesadilla up a notch--"Bam!"--one can easily underestimate Lagasse's abilities as a chef. Some of the best things I have ever tasted in New Orleans--smoked salmon cheesecake, paneed veal, banana cream pie--have come from his kitchens.
Still, we've all heard the rumors: that Lagasse has overextended himself; that his restaurants NOLA and Emeril's have become tourist traps. The look of Emeril's New Orleans Fish House, a low-ceilinged restaurant decorated in Home Depot Creole and tucked in the MGM Grand between the Brown Derby and a simulated farmers' market, is hardly inspiring. The waiter sneered when I ordered a glass of the house wine--it's made by Jim Clendenen of Au Bon Climat, who makes my favorite California chardonnays. I wanted to taste the stuff, but I was shamed into ordering a bottle of cabernet from the encyclopedia-size list. And the gumbo, which tasted as if it had been plumped out with pureed black beans, was not that great.
But good Creole cooking, even Lagasse's modernized brand, travels pretty well, and the pungent, firm "barbecued" shrimp, simmered in a strong, Worcestershire-enhanced brew, were as good as I remembered them in New Orleans--which is to say mind-bending. A special of crisply sauteed salmon topped with a frizzle of fried leeks was perfectly rare, crusted with the kind of multipepper Creole seasoning that rises over a period of 10 minutes to a glowing, nuanced heat. And the banana cream pie was the stuff of dreams.
But they don't like it when you sleep in Vegas, so I moved on. While the Bellagio is more luxe and the MGM Grand is busier, the public spaces of the new Mandalay Bay Hotel are unmatched in the feeling of sheer massiveness, a slot-filled Beverly Hills living room writ at 100 times scale feeding into a restaurant corridor decorated lavishly enough to make Universal CityWalk look as modest as a country lane. Everything is gigantically proportioned, with yawning ceilings, acres of granite and surreal avant-garde touches blown up to spectacular dimensions. (Not for nothing has Cirque de Soleil become to the new Las Vegas what topless Lido showgirls were to the edition before last.) Even today, with many of Mandalay's restaurants still under construction, the effect is spectacular and Blade Runner-ish.
Visitors are dwarfed at every turn. The Chinese restaurant Shanghai Lilly is fronted by a basalt climbing wall studded with terra-cotta body parts that look like a cross between a sculpture by Robert Graham and the tomb figures at Xi'an. Interior walls at rumjungle spurt fire and live steam. Junior sommeliers, lashed to motorized harnesses like Mary Martin in Peter Pan, flit fairy style around a four-story wine rack at Aureole. A 20-foot statue of Lenin--fabricated, it appears, for the casino, not salvaged from some gray corner of Minsk--stands grim sentinel outside Red Square, a Soviet-chic Russian restaurant that originated, naturally, in Miami Beach.
But alas, I wandered into a cafe with the unfortunate name And Zen Sum, the casual wing of China Grill, a soaring stainless-steel outpost of the Manhattan restaurant of the same name. I settled in with a glass of sauvignon blanc and stared at the conveyor belt propelling potstickers and California rolls on ceaseless orbits of the long bar. The sight was unfortunately more interesting than the leaden spring rolls, the bone-dry calimari, the ultrasweet duck salad--not to mention the techno music that spurted from every possible corner.
"I heard there were supposed to be robots," brayed a New Jersey matriarch occupying a booth with her brood. "Where are the robots?"
"There was a problem," the waitress replied. "I think the robots may be going by August."
"August!" the woman exclaimed. "What possible good does that do me now?"
This time I decided to abuse my expense account. I crossed the plaza to Red Square, ordered caviar with blini and a shot of Belvedere from the massive vodka list and spent the rest of the afternoon trying to bury a silver dollar in the half of the bar lined like a hockey rink in ice.
That's the problem with this town. There's never a Zamboni machine when you need one.
the facts
AND ZEN SUM (Mandalay Bay) 632-7405
AQUA (Bellagio) 693-7223
AUREOLE (Mandalay Bay) 632-7401
BROWN DERBY (MGM) 891-7318
CALIFORNIA PIZZA KITCHEN (Mirage) 791-7357
CHINA GRILL (Mandalay Bay) 632-7404
CHIN CHIN (New York, New York) 740-6300
COYOTE CAFE (MGM) 891-7349
EMERIL'S (MGM) 891-7374
GALLAGHER'S STEAKHOUSE (New York, New York) 740-6450
IL FORNAIO (New York, New York) 740-6403
NAPA (Rio) 247-7961
NOODLES (Bellagio) 693-7223
OLIVES (Bellagio) 693-7223
PETROSSIAN (Bellagio) 693-7223
PICASSO (Bellagio) 693-7223
PRIME (Bellagio) 693-7223
RED SQUARE (Mandalay Bay) 632-7407
RUMJUNGLE (Mandalay Bay) 632-7408
SHANGHAI LILLY (Mandalay Bay) 632-7409
SHINTARO (Bellagio) 693-7223
SPAGO (Caesars Palace) 369-6300
STAGE DELI (New York, New York) 740-6454
All numbers are area code 702.
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