Recipes for Success: Dubai’s Dragonfly Head Chef Biman Rai talks clarity and craftsmanship 

Sri Lankan chef Biman Rai is the head chef at Dragonfly in Dubai. (Supplied)
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Updated 04 July 2025
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Recipes for Success: Dubai’s Dragonfly Head Chef Biman Rai talks clarity and craftsmanship 

DUBAI: For Sri Lankan chef Biman Rai, the kitchen has always been more than a workplace — it’s where memory, culture, and tradition come together. In his childhood home, he says, food was “both ritual and a form of storytelling.” His earliest inspiration came from his grandmother, whose sunrise spice-grinding sessions laid the foundation for his culinary career. 

Inspired by the women in his family, Rai set out to become a professional cook. He has worked in kitchens across the Middle East, and says he was particularly influenced by Japanese and pan-Asian cuisines. “The respect for detail, for balance… it aligned perfectly with how I saw the world,” Rai tells Arab News. 

Now, as head chef at pan-Asian restaurant Dragonfly in Dubai, Rai is bringing that vision to life.  

“What makes us unique isn’t just the food, it’s the feeling. We honor the spirit of Japanese and pan-Asian cuisine while giving it a bold, modern twist,” he says. “There’s finesse, but also a quiet rebellion in the flavors and plating. It’s about creating impact through precision and personality.” 

When you started out professionally, what was the most common mistake you made? 
Trying to do too much. I believed more was more — more components, more garnishes, more flair. I’ve learned that restraint is power. Now, I focus on clarity and intention in every dish. 

 

What’s your top tip for amateur chefs at home? 
Taste as you go — and trust your palate. Recipes are guides, but your instinct is the real compass. Also, don’t underestimate the power of acid. A squeeze of citrus can bring a dish to life. 

 

What one ingredient can instantly improve any dish — and why? 
Yuzu. It’s electric. Just a few drops can brighten a dish, elevate aroma, and add that perfect high note without overpowering the core flavors. It’s subtle, but transformative. 

 

When you dine out, do you find yourself critiquing the food?  
It’s second nature, yes. But not in a negative way; I pay attention.  

 

What’s the most common issue you notice? 

Lack of harmony — flavors fighting each other instead of working together. Also, when the service doesn’t match the ambition of the kitchen, the experience falls flat. Great dining is holistic. 

 

What’s your favorite cuisine to eat? 
Italian and Japanese. They both celebrate ingredients, not just technique. A perfect bowl of ramen or a plate of cacio e pepe — both are about balance, soul, and simplicity done well. 

 

What’s your go-to 20-minute meal to cook at home? 
A miso-marinated salmon with steamed rice and quick-pickled cucumbers. It’s comforting, fast, and packed with umami. Plus, it gives you that sense of a complete meal without needing much time or effort. 

 

What customer request most annoys you? 
When guests try to reinvent the dish at the table with endless modifications. I fully respect dietary needs, but there’s a difference between adjusting and redesigning. Every dish is built to tell a story; the best experience comes when you trust that process. 

 

What’s your favorite dish to cook? 
Nigiri sushi. It’s pure craftsmanship. You’re working with just a few elements — rice, fish, soy, wasabi — but every detail matters. It’s the kind of dish that keeps you humble and sharp, no matter how long you’ve been cooking. 

 

What’s the hardest dish to perfect? 
Ramen. It’s deceptively hard. The broth alone is a science — depth, clarity, timing. Then you have the noodles, the toppings, the balance of fat and acid. One small misstep and the entire bowl is off. 

 

What kind of head chef are you? Strict? Calm? Loud? 
Calm, always. Precision doesn’t require shouting. I lead by consistency, clarity, and presence. I believe a composed kitchen is a creative kitchen. My team knows I expect high standards, but also that I support them fully in achieving it. 

 

RECIPE: Assorted vegetable stir-fry noodle

INGREDIENTS

Any long noodle 100g

Olive oil 15ml

Finely chopped garlic 5g

Black pepper powder 1g

Thinly-sliced mix vegetables 60-70g

Tonaktsu sauce 20g

Light soy sauce 40g

INSTRUCTIONS

Boil water in a pot and cook 100g of any child noodle until just done (follow package instructions for time. Drain and rinse with cold water to stop cooking. Set aside with a drizzle of oil to prevent sticking.

Stir-fry the vegetables:

Heat 15ml olive oil in a wok or large saute pan over medium-high heat. Add 5g finely chopped garlic and sauté until fragrant (about 15–20    seconds). Add white onion julienne and stir for 1 minute until slightly soft. Add 60–70g of mixed vegetables (can include carrots, bell peppers, cabbage, zucchini, broccoli, etc. whatever available

Stir-fry for 2–3 minutes until vegetables are cooked but still crisp.

Season and Combine Add 1g black pepper powder and toss to coat.

Add cooked noodles to the pan and stir well. Add Sauce and Finish

Pour in the noodle sauce mixture:  and add 20g Tonkatsu sauce

40g Light soy sauce Toss everything together over high heat until noodles are fully coated and heated through (1–2 minutes).

Adjust seasoning if needed.


Review: Netflix’s ‘The New Yorker at 100’

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Review: Netflix’s ‘The New Yorker at 100’

  • Directed by Marshall Curry, the documentary opened the doors to the publication’s meticulous world, offering viewers a rare look inside the issues within the magazine’s issues

Out this month, Netflix’s “The New Yorker at 100” documentary marks the centennial of the weekly that has brought forth arguably some of the most compelling long-form journalism in my lifetime.

As a ferocious reader with an insatiable appetite for print, I vividly recall picking-up a copy of The New Yorker in Saudi Arabia after school as a teen, determined to read it cover-to-cover — only to find myself mentally, intellectually and physically exhausted after deciphering a single lyrical and Herculean-sized long-form piece.

Reading The New Yorker still makes one both feel smarter — and perhaps not smart enough — at the very same time. Just like the documentary.

Much like Vogue’s 2009 documentary, “The September Issue,” which followed (now retired) editor-in-chief Anna Wintour as she prepared for the September 2007 issue; this documentary largely centered on the making of the Feb. 17 & 24, 2025 multi-cover edition.

A quintessentially New York staple that readers either love or loathe — or both — the magazine has long been seen as a highbrow publication for the “elite.”

But The New Yorker is in on the joke. It never did take itself too seriously.

Directed by Marshall Curry, the documentary opened the doors to the publication’s meticulous world, offering viewers a rare look inside the issues within the magazine’s issues.

Narrated by actress Julianne Moore, it included sit-down interviews with famous figures, largely offering gushing testimonials.

It, of course, included many cameos from pop culture references such as from “Seinfeld,” “The Good Place” and others.

It also mentioned New Yorker’s famed late writers Anthony Bourdain and Truman Capote, and Ronan Farrow.

As a journalist myself, I enjoyed the behind-the-scenes peeks into staff meetings and editing discussions, including the line-by-line fact-checking process.

While lovingly headquartered in New York — and now based at One World Trade Center after decades in the heart of Times Square — the magazine has long published dispatches from elsewhere in the country and around the world.

I wish there had been more airtime dedicated to Jeanette “Jane” Cole Grant, who co-founded the magazine with her husband-at-the-time, Harold Ross, during the Roaring Twenties.

Ironically, neither founder hailed from New York — Grant arrived from Missouri at 16 to pursue singing before becoming a journalist on staff at The New York Times — and Ross came from a Colorado mining town.

Perhaps more bizarrely, Ross, who served as the first editor-in-chief of The New Yorker — known today for its intricate reporting and 11 Pulitzer Prizes — had dropped out of school at 13. He served as lead editor for 26 years until his death, guided by instinct and surrounded by talented writers he hired.

As the Pulitzer Prize-winning journalist and the magazine’s fifth editor-in-chief, David Remnick has held the role since 1998. “It is a place that publishes a 15,000-word profile of a musician one week, a 9,000-word account from Southern Lebanon, with gag cartoons interspersed in them,” he said in one scene.

It also offered a glimpse of the leadership of his predecessor, the vivacious and provocative Tina Brown, who served as editor-in-chief for six years starting in 1992.

No woman has held the top editor position before or since her tenure.

Some of the most compelling moments in the documentary, for me, showed journalists scribbling in reporter notebooks in darkened movie theaters, rocking-out in dingy punk shows, and reporting from political rallies while life unfolded around them.

These journalists were not sitting in diners, merely chasing the money or seated in corner offices; they were on the ground, focused on accuracy and texture, intent on portraying what it meant to be a New Yorker who cared about the world, both beyond the city’s borders and within them.

While Arab bylines remain limited, the insights from current marginalized writers and editors showed how the magazine has been trying to diversify and include more contributors of color. They are still working on it.

A century in, this documentary feels like an issue of The New Yorker — except perhaps easier to complete.