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Carlos Wills 3

Credit: Stephen Recchia

Trend to Table: The Tuna Cutting Spectacle Making Waves in Omakase Dining

8 Minute read

Chefs across the country are turning tuna butchery into a theatrical event, drawing crowds for all-you-can-eat omakase and a front-row seat to the action.

Tuna butchery as performance, followed by an all-you-can-eat omakase, has in the last year become pervasive around the country. The events happen regularly and command tickets. They’re frequently sold out, sometimes taking place on literal stages, other times unfolding in the more intimate quarters of sushi restaurants.

In Texas, chefs have embraced the spectacle, breaking down whole fish and serving them directly to guests. At Koma Sushi in New York, the events are billed as regular performances paired with a feast, and have proven wildly popular. At Leland in New York, the breakdown of a yellowfin is as much about sustainability as it is about showmanship, encouraging the use of the whole fish. In Las Vegas, Omakase Kyara hosts a live bluefin cutting every two months, commanding prices of $400 per person.

In my professional search for the best omakases, I’ve come to realize that in America there are two distinct experiences that share the name.

One is a serious study in sourcing, often involving trips to Japan, to present a serene parade of delicate, truly bite-size nigiri, with heat used sparingly and education at the forefront. The other is a blowtorch-powdered spectacle—glittery cascades of gold leaf, mayonnaise-painted fish, tuna-butchering extravaganzas—reliant on the oily, unguent signifiers of luxury: foie gras, truffles, uni, o-toro. I call the latter Blowtorch Omakases. The New York Times has also used the term “Bromakase” for these baller, high-octane dinners that have supplanted steakhouses as the go-to way to flaunt wealth and success.

Like a Venn diagram, sometimes these two categories intersect. And when they do, they can be a lot of fun. Ogawa in Philadelphia is two concepts in one: a cocktail bar serving Japanese-inflected bar food and seasonal cocktails, like the ceremoniously shaken, matcha-based Sadotini, and a 12-seat sushi counter manned by two sushi chefs. The counter offers two types of omakase—a 23-course version for $200 per person and a shorter option on certain weeknights. The full experience is a succession of little spectacles, as chef Carlos Wills delights in showing off the creatures he’s about to expertly dissect and serve: an extraordinarily long belt fish, a box filled with live sawagani river crabs, an enormous tuna loin.

Ogawa has hosted two tuna cutting omakases, in May 2024 and April 2025. “We like to do them in the spring, when tuna is fattier, though we’re looking to do one quarterly,” said Vy To, Ogawa’s owner. Ticket sales—VIP seats at the omakase counter for $220 and slightly cheaper standing spots for $180—create buzz for the restaurant ahead of the slower summer season. The events require no insignificant amount of logistical planning. “It’s a very heavy fish and we need more help,” said Wills. “We need help lifting the fish, getting the food to guests who are seated, standing, and coming into Almanac upstairs for tuna specials.” It also demands inventory planning; there will be a lot of tuna on the menu in the days after the event.

On the day of the event, “we’ll ask chef Minoru Ogawa to come in from Washington, D.C.,” said To. “We’ll have to plan a month in advance to make sure we have room in the walk-in, talk to the delivery driver to make sure it’s the last stop during the day. We’ll be there to help him bring it down from the truck. The warehouse has heavy lifting machines, but here we need four people to pull it into the restaurant.”

Wholesale, the 250- to 300-pound fish still costs $37 to $90 per pound and must be sourced from specific places depending on the season. At Ogawa, tuna comes from Mexico, Spain, Japan, Boston, and North Carolina. It’s a massive financial undertaking.

Thanks to such spectacles, I know now what a dissected bluefin spinal column looks like, and that the gelatinous marrow contained within can be pickled and served like a wiggling, oceanic, Jell-O pudding in the hollow of one chunk of spine, still attached to a dramatically large, sharp, and curvaceous rib.

“The tuna cutting experience is the best combination of traditional edomae-style omakase and the fun part of what we always imagine an Ogawa omakase experience to be,” said To. The first 30 minutes are quiet, as spectators look on in awe. “They watch every single knife movement. It’s so quiet and zen. It’s like everyone is in a theater watching a show.” Once the chef declares the cutting is over, it bursts into a giant party. Everyone is drinking, talking, laughing, having fun. “It’s truly the best of both worlds that we’re trying to achieve every single day.”

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