Michael Laiskonis plates each of the desserts on his menu for the final time while considering how he got into this business in the first place.
It's the week between Christmas and New Year's Day, a brief sigh in the restaurant world, a sharp contrast to the crescendo of busy-ness of the months preceding it. Today, I leave the apartment a few minutes earlier than normal. I've held down a reliable noon to midnight shift for most of my tenure as pastry chef at Le Bernardin. There were plenty of days that started at 6:00 a.m., and I recall more than a few nights that stretched well into the next day. Cooking at this level easily becomes an on-call 24 hours a day, seven days a week way of life. I often joke that my job offers me a great deal of flexibility and freedom to work any 12 hours a day that I choose. I'm padding things this morning because I know it's going to be a full, busy lunch service. Fridays always are. I also expect to stay on to plate the very last dessert of the night, which I'm predicting will spit out of the kitchen printer sometime around 1:00 a.m. It's an otherwise typical day, except for the fact that it's my last -- the last of nearly eight years full of intense New York minutes.
When I first read about Le Bernardin in 1992, I was a young cook hungry for knowledge and eager to climb my way up the ladder. At that time the cool, focused minimalism of Gilbert Le Coze's plates was a revelation to me: a piece of fish, a garnish, and a sauce. Eric Ripert had just joined the team at that point, via Jean Louis Palladin in Washington, D.C., and before that, Joel Robuchon's Jamin in Paris. Eric continues to hum the mantra of the fish as star of the plate, and when I took my post as pastry chef, I immediately subscribed to that sense of simplicity. I also had the benefit of following a long line of talented pastry chefs that informed my style: Florian Bellanger, Herve Poussot, and an early idol of mine, Francois Payard. It will always be my tendency to push at the edges of the envelope, but restraint is probably the most important trait I've gained from Eric, Maquy Le Coze, and my predecessors. I truly came of age at Le Bernardin. Working in a subtractive way, I think I've emerged a far more mature and confident cook.
It's 4:30 p.m., and the staff is dug in: baking off cannelés for the petit four tray, slicing strips of orange peel, punching out pieces of green tea sponge exactly three cm wide. Yes, we use a ruler.
I grab a plastic tumbler of coffee before settling into the pastry kitchen to assess how morning production is shaping up. On most days there is usually a figurative fire or two in need of putting out when I arrive -- a late delivery or a botched recipe that must be fixed. Things are quiet today.
"Hola, boys. Todo bien?" I say, surprising everyone with my early arrival.
"Oui, jefe, everything is good!" they reply in unison, a mash-up of languages not uncommon in New York kitchens.
Jaime is charge of setting up the line for lunch, and Walter and Jesus are methodically working their way through the daily production list. Walter looks up to say hello and then turns his attention back to a large container of cold vegetable oil, into which he pours mango puree from a squeeze bottle, one tiny drop at a time. The resulting caviar-like mango 'pearls' are part of our pistachio dessert, a prime example of how we've evolved in terms of technique and style. The dish is straightforward: pistachio mousse, caramelized white chocolate, the mango pearls. Each of the components work alone but also combine to create something greater than the sum of their parts. In earlier days I might have considered the sheer number of components on each plate the measure of success. Though I no longer beat guests over the head, over-emphasizing the underlying techniques we employ, this pistachio dessert does rely on a few of them. Now they exist solely in service of taste and texture, and not to satisfy my own ego.
My first task today, as it has been, is to stick my finger into the entire mise en place, to make sure everything tastes right, to make sure we have enough of each individual element. Jaime has been slowly perfecting the pate a choux puffs that serve as the base for one of our most popular desserts. Today's batch is textbook-perfect. We give the puffs an added crunch by topping them with an impossibly thin sheet of shortbread dough before baking.
Though we've added several techniques over the years -- call them "molecular," or "modernist," or simply "new" -- this dish represents a different direction for me as a chef. Pate a choux as we know it today has been part of the pastry repertoire since at least the days of Carême, who emerged as the pre-eminent pastry chef in post-Revolution France. If you would have told me a year ago that it would be the platform for a dessert on my menu, I would have laughed. Too simple. Too pedestrian. Yet this dish, a play on the classic French choux pastry known as religieuse, represents a desire to come full circle, back to the basics.