So it’s no surprise, in these martini-mad times, that the Manhattan is now making a return as people seek to expand their repertoire of cocktails that are strong and stirred.
“We have seen an increased interest in the Manhattan over the last 6 to 10 months,” says Kristijonas Bazys, bar manager of Scarfes Bar at Rosewood London. “In my opinion, it’s mostly fuelled by the broader revival of classic and heritage drinks such as the old fashioned, martini, Sazerac etc, and the ‘quality over quantity’ drinking culture.”
“I think the Manhattan is enjoying a bit of a renaissance because people are rediscovering its timelessness,” says Leo Robitschek, head of food and beverage at Nomad London, which offers several Manhattan twists. “They are gravitating toward stirred, spirit-forward classics again, but with a desire to explore depth and complexity beyond the martini’s clean minimalism. The Manhattan scratches that itch.”
The Manhattan was born in New York some time in the late 1870s / early 80s – no-one can agree quite where or when. And it paved the way for spirit-and-vermouth drinks including the Martini, which followed a few years later.
Back then it would probably have been made with rye whiskey, which gives the drink more spice. Two of my favourites are Michter’s and Sazerac Rye, but a Manhattan with long-aged Eagle Rare Bourbon is also wonderful. (If you make a Manhattan with Scotch whisky, of course, then what you’ve got is a Rob Roy – for a really five-star take try the elegantly smoky Johnnie Walker Blue).
The Manhattan is, in theory, a cocktail that be mixed both dry and sweet – though I find most versions made with dry vermouth horribly imbalanced. (The so-called ‘Perfect’ Manhattan – which is made with equal parts dry and sweet vermouth – is decidedly imperfect.) Whiskey, which is oak-aged, and aromatic bitters are naturally quite tannic, so you need a little sugar in there just to smooth things out.
A full-bodied red vermouth is best – I’m a fan of the rosso by Chazalettes, which is based, very unusually, on red rather than white wine, which gives it more richness and depth. I also like a barspoon of dark-and-sticky Luxardo cherry syrup in there – just stir it with the whisky in the bottom of the mixing glass, before you add the ice, to loosen it up a bit.
A sweet Manhattan is also great on the rocks, or with the whisky/vermouth ratio reversed; or with bianco, or white, vermouth – a vanilla-accented style which is, in fact, the sweetest style of all.
When it comes to the bitters, Angostura Bitters (aromatic or orange) would be the classic choice. But switching it up is an easy way to give your Manhattan a fresh accent. Try Bittermens Hopped Grapefruit Bitters, or the Chocolate Walnut Bitters by Bitter Queens. Bob’s Bitters’ Abbots Bitters – a reformulation of a classic 19th-century brand – is also a favourite among vintage cocktail enthusiasts.
A twist – lemon or sweeter orange, you choose – adds a bit of zesty lift. And then garnish with a skewer of Luxardo maraschino cherries. Because, as we all know, that whisky-steeped cherry at the end of a Manhattan is always the best bit.
Three Manhattan Twists
Sweet Manhattan
- – 50ml bourbon/rye whiskey
- – 1 dash Angostura Bitters
- – 5ml syrup from a jar of Luxardo maraschino cherries (optional)
Glass: frozen cocktail glass
Garnish: orange of lemon twist, discarded, and skewer of Luxardo cherries
Method: stir with ice and strain
White Manhattan
- – 50ml bourbon/rye whiskey
- – 2 dashes orange bitters
Glass: frozen cocktail glass
Garnish: grapefruit twist
Method: stir with ice and strain
Manhattan 1890s-style
Early versions of the Manhattan often featured dots of dashes of absinthe and liqueurs – this is taken from The Flowing Bowl by William Schmidt, published in 1891.
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- – 2.5ml sugar syrup (2 parts sugar:1 part water)
- – 2 dashes orange bitters
Glass: frozen cocktail glass
Garnish: none
Method: stir with ice and strain
Taken from The Cocktail Edit: Everything You Need to Know About All The Drinks That Matter by Alice Lascelles (Quadrille).