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

The Westin, Shanghai (上海)

It's only 5 minute's from The Bund (外灘) and a relatively new hotel, The Westin Shanghai ought to be a fantastic place for both business and pleasure. Quite a few tourist guides have also rated this highly. It took me about two days to work out why I never warmed to it. The reason? The sense of proportion is erratic across the entire hotel - some corridors are too narrow, beds too close to the wall (even though I was in a mini-suite), some staircases have irregular steps, etc. The list goes on. What was enjoyable? The location. One could  stroll down to The Bund for dinner, drinks or the view. The staff are nice too - always trying to help. What was not enjoyable? Where shall we begin - the fake palm trees, the tightly spaced cafe, the finishing touches, etc.

Król Roger, Royal Opera

The Polish barihunk Mariusz Kwiecień sang the title role on the first performance of Król Roger at the Royal Opera. Kwiecień's portrayal of Król Roger was subtle and involved (might have helped with him having a head cold as Kasper Holten came and told us after the interval). Pappano did full justice to Szymanowski's lush score.

Macbeth, Glyndebourne

Not having read any reviews, I had no idea what to expect at this new production of Macbeth at Glyndebourne Festival Opera. Was I shocked, disappointed, annoyed? Words fail me here. The music was fine - Jurowski commanded the LPO with usual eloquence and fire. The soloists and chorus were on good form too (though the latter had had one or two wayward moments). The problem appeared, alas, when you opened your eyes. As the witches came out of the caravans (trailer-park analogy) it was comical. But when the whole stage design was around some undecipherable social-psychological coding, it became enormously hard to form any understanding between the visual and the audio - the stage was the distraction. Glyndebourne played a crucial role in bring early Verdi operas back to the UK - it was ever more disappointing to see a production of such poor quality.