From Tickets to Theatre: the height cap returns to Paral lel

The Iglesiases, now employees of businessman Manuel Lao, who bought the company, have rebuilt the brand with four establishments: Rias Kru, as exclusively explained in these pages; the Cañota tavern, Teatre and the Backstage cocktail bar where La Dolça was and, before, the 41st.

Theater is not Tickets but it is Ticketsthe Tickets of the beginning, the Tickets of the jowl and truffle muffinssince it exists on their memory and for this reason they preserve some mouth appetizers as a connection or ‘ouija’, such as the symbolic olive (I have eaten more of that spherification than of La Sevillana), the brick pasta ‘pizzeta’, the Hibiscus profiterole stuffed with smoked creamthe parmesan cut (why not use local cheeses?), the mille-feuille of ‘nori’ seaweed and tuna or the ‘airbaguette’ of Iberian cansalada. ‘Airbaguette’ is a great name for an airline.

The show began on Saturday, March 12, and I sat down for the third session and despite the warning – due to the haste of the visit – of Oliver Penawho was chef de cuisine of the 41st when he had a star and of Enigma with the same rating, and on a humid and windy day in which the doughs soften, again the dishes reach peaks of perfection and the crispy ones fulfill the crackling function. Because it is a kitchen that is felt, appreciated, noticed: it makes noise.

In the soundtrack, the ‘Achilipú’ and I also tell myself that it is a cheerful kitchen and ‘achilipú’, and Raimundo Amador sings and ‘what a treat for my ears’, and I can’t add anything to improve the phrase.

Part of the team is the same, with Joan Romans as room manager and that in the interregnum started Marin Grocery, but there are new faces, like Gabriel Suner as head chef. Wave of Valentina Bucara in the pastry shop, and the cream puff pastry and the ‘kakigori thai mex’, or the Marc Dot to the wines, with the xarel·lo 50 Lliures de Torelló (how pleasant!), the Maruja manzanilla or the Amaren tempranillo.

Borja says: “They will look at us with a magnifying glass”and I think there are plenty of explanations because this was Tickets, and it belonged to them, and now it is Teatro, and it belongs to them.

Because as I wrote at the beginning, this is not Tickets, although the soul remains. Oliver has uploaded the stews on stage, those chickpeas with gut and a vinaigrette or salpicón with red and green pepper. “In my house, we put vinegar,” and she wants the home spirit to waft too.

The cook refers to the parents, septuagenarians, to explain this pacified stage: «I would bring them. Because there will be more classic cuts»

New are the giant popcorn with chipotlethe fuagrás/amontillado creamy terrine and corn sphere or the ‘stracciatella’ with broad beans and mint, in which the amount of dairy would be reduced.

AND two crushes: the mackerel with rice vinegar and piparra juice, or a marinade in another way, and the top of the representation, which is the muddy gilthead (no one leaves the room). Fish painted with a mojo based on ñora, pepper, oregano and vinegar; pickled cabbage, mayonnaise of the same mojo and trocadero lettuce leaves. Do it yourself. Lettuce, piece of red sea bream, cabbage and sauce, roll up, eat and live.

all counted deserves a good, wide, enveloping napkinbecause I have enjoyed and I have spread myself and I need to feel warm with the textile.

The vedetes, the top tapas, have returned to Paral·lel.

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