The Gluttoness — June 08, 2009

Sho-Stopping

It’s rare that I’m speechless, but last Thursday night’s preview dinner at SHO Shaun Hergatt stunned me into my first satisfied oblivion of 2009. Executive Chef Sean Hergatt has spent two years turning the concrete canvas within The Setai New York into a modern Asian masterpiece with simple elegance and ruby red accents. An expansive glass wall separates diners from the theatrics of the grand kitchen and many of the tables face Hergatt’s “stage” where he commands his dutiful “players.” You witness meticulousness then taste it.

The striking décor is matched by the drama of SHO’s impeccable food, which the chef described as “Asian-accented, modern French cuisine.” Hergatt is a brawny Australian with a sweet smile—the unexpected artist behind brilliantly feminine dishes that are as artistically inclined as they are sophisticated in flavor. There’s a continual dance between delicacy and decadence. Riveting taste always wins, but it’s the manner in which it’s achieved that is so interesting.

Two velvety crêpes were filled with tobiko and sour cream, then tied in purses, served over thin slices of lime and topped with gold leaf. Two sesame seed tuilles were rolled like cigars and stuffed with whitefish tartare. There was an impressive equilibrium between the rich insides and the subtle exteriors.

Raw scallops were placed atop crabmeat, and plated with a Sauce Barigoule inside an opalescent shell. This was an amuse bouche with a purpose. The palate-cleansing sweetness of the crab and scallop were accentuated by a refreshing bite of thinly sliced radish and a hint of licorice.