Skip to main content

Want to express your dissatisfaction in a restaurant / airplane / hotel?

We have all experienced it - below par food, service with an attitude, music too loud, too dark to see what you are eating, etc. I was in one such occasion not long ago with a dining companion - we thought the food was mediocre at best, the service was a wee bit less than attentive, and Evian was poured into our glasses of Badoir. My companion's displeasure was expressed expediently and explicitly. I was watching and observing - thinking how many time I have found myself in such situations.



So you want your displeasure known. Is there a "right" or "wrong" way of doing it?



First - gauge the environment before expressing anything:



  • Do observe your fellow dinners. Are they content? Do they look impatient?


  • Do observe the waiting staff. Do they look harassed? Bored? Grumpy?


Second - estimate the likely impact of any critical comments from you:



  • Do consider the practical options - if the food arrives luke warm because your table is a long way away from the kitchen, then the staff could possibly put a lid on to maintain temperature. If the strawberries taste hard and sour in December, the chances are that's all they have in the larder.


  • Do determine whether you can make a direct and positive recommendation - sometimes the fault could be rectified easily - adding a candle to the table to get more light, requesting the water to be placed by you so you can quench your own thirst, relocating to a nearby empty table, suggesting less salty recipes.


Third - get the timing and person right:



  • Do state your exacting requirements at the beginning of the meal - so that the staff can try to meet your expectations. E.g. "I have booked this table a month in advance and I hope it's going to be a memorable evening.'


  • Do ask to talk to the manager / maitre d' during the meal and give positive / non-threatening feedback. The manager, who is unlikely to be serving you directly, may be more sympathetic to diners' needs.


  • Do not complain to the waiters - most of them just do as they are told (by the manager / owner). They might not even speak your language.


  • Do give critical comments at the end of the meal - so that your pudding or coffee could not be poisoned.


  • Do not waste your breadth if you think anything is likely to change.



Comments

Popular posts from this blog

Dialogues des Carmélites at the Royal Opera

Michael Levine's set design for Dialogues des Carmélites was minimalist. Actually, was there any set design? I suppose the director Robert Carsen was clever at introducing formation of human figures in many different ways to suggest the context of the opera. It kind of worked. Blanche, sung by Sally Matthews, was pretty good. Though I did find the whole work quite tedious - I think the intimate nature of the dialogues needed a small and intimate performing space i.e. not the Royal Opera House. The ending was worth waiting for. Dramatic. Poignant.

Der fliegende Holländer at the Royal Opera

I have managed to avoid all the reviews as I didn't want them to taint my experience of the new production of Der fliegende Holländer at the Royal Opera. The long overture was accompanied by a seascape - essentially water running down a curtain across the stage forming the sea. The set was clever without cluttering the stage. A moving shadow represented the ghost ship - which had to be one of the most economical and convincing effects I have ever seen on the Royal Opera stage. Bryn Terfel was magnificent as the Flying Dutchman singing with lyricism and drama. Senta, sung by Anja Kampe, had a Wagnerian voice with her top note ringing through the auditorium. Even the supporting cast of Hans-Peter König (Daland), Torsten Kerl (Erik) and John Tessier (Steersman) was strong. The chorus was fantastic - with enough singers carrying the drama. Marc Albrecht at the helm in the pit got the orchestra to play dynamically without losing the details. I am hoping this Dutchman will return to the...

Saul at Glyndebourne

What a superb revival production directed by Barrie Kosky. The big choruses were done with the singers doing slo-mo mannerism action. Markus Brück was particularly fine with Saul, and the rest of the cast did a super job to bring this oratorio to life.  Laurence Cummings maintained dramatic momentum with the OAE while darting from the rostrum to the organ - including playing the solo intro on a spinning organ on stage!