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An Interview With The Chin Twins!

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All photos by Nigel Barker.

Downtown had the opportunity to talk with Cristen and Kimberly Chin about their new show: The Chin Twins! The show follows Cristen and Kimberly as they show us how to cook some of their favorite family recipes while they teach us how to love life and stay balanced in such a crazy world! From visiting local shops and restaurants to learning natural beauty hacks, The Chin Twins has something for everyone! Read on to see what they have to say about their new show, the importance of food and family, and much more!

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You both practice yoga. How did you start? How has it helped you during the pandemic? Do you have any tips or advice for beginners?

Kimmy: We grew up dancing. We’ve always used our bodies as an art form. We did ballet, tap, jazz, point. And we were pretty athletic. We were swimmers. We tried to do diving; it didn’t quite work out. 

It began with a Bikram studio. And that’s the very hot, pretty regimented type of yoga. We started out being drawn to the physical practice of yoga. It deepened after we became parents, when we became pregnant. We did prenatal yoga, Mommy and Me yoga, with our babies. Yoga has evolved with us as we’ve aged. 

And then we both did our teacher training. We wanted to share it with other people, so we both teach, we both practice. 

Crissy: The pandemic was a huge shift. I for one love to go into studios; I feed off the energy of all the other yogis in the room, and I love breathing together or flowing together. Everything just came to a halt. 

It was a forced change to our practice, but it did deepen it in a different way. That is one time I needed yoga the most just because of the anxiety and the unknown, having two kids at home trying to do homeschooling. Yoga shifted, and it was amazing the way you can find what you need from your practice under different circumstances. You find ways to carve out a space in your home. It was a struggle, but I think it deepened my relationship with yoga. My practice is definitely more restorative, more calming; I go to it for that. 

Kimmy: There’s just so many types of yoga, and yoga can meet you wherever you are. The best advice is don’t try to compare yourself to anybody else, even when you start in a classroom because yoga looks different to everybody. Yoga can be doing things mindfully, it can be meditation. There are so many different classes and styles. Just keep searching and find where you fit. 

Crissy: Try as many different styles as you can until you find one that suits you, and that might change. Just keep an open mind. And that suits all points of your life like being a student, being a mother. That’s a healthy way to approach all things in life. 

And I think that’s also why Kimmy and I created this show, The Chin Twins, to introduce some of the more lofty, complicated yoga philosophies in a more day to day way. Ways to use everyday activities in your home to kind of emulate these larger yogic principles. That’s really what the show’s about. 

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How do you use food to stay connected with your family?

Crissy: It’s a human, primal desire to be able to care for people, and food, for us as mothers, definitely plays a role in that, for caring and nourishing. And connecting, to gather, to commune. 

Kimmy: When you’re cooking, when you’re nourishing, you’re putting a little bit of heart into your food and sharing it with your family. In the show–we filmed it all in Woodstock where Crissy lives–we went out and embraced the community like little local shops, and that also strengthened the community. 

Crissy: I love to explore different cultures through food. So my friends and my family will have a themed night, like it’s Moroccan Night and we’ll have the tajin out and the couscous, so I love using food to broaden and teach. 

Kimmy: Like when we’re having Italian Night, I put on Italian bistro music. You bring Italy to you, especially during the pandemic. Everybody got so experimental. I think it was Christmas Eve and I said, “Let’s go get snow crab legs.” We’ve never had that! We were just trying to bring the world to our kitchens because we couldn’t get out and travel. 

 

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In the episodes that have aired so far, you visit quite a few local shops in Woodstock, NY like Harana Market and Three Turtle Doves. What do you love about shopping local, and why is it important for you and for us to support local stores in our communities? 

Crissy: Small businesses got hit so hard during the pandemic, and they struggled to stay open and keep the foot traffic going, and, as Kimmy mentioned we haven’t been traveling as much, so I really feel like I’ve reconnected with my small town. And not that I didn’t appreciate them before, but every little community…there’s so many treasures in our own backyard. It’s amazing to be able to visit them and to really sit and hear their stories. I go in and out of shops everyday, and it’s nice just to connect with the owners. It’s really special to be able to share that with our audience. It’s a real gift that we can go and help share that with the world. 

We visited Tinker Taco, which I go to all the time, and I love their tacos. But I had never watched him make them by hand. And he really starts with the kernels of corn and soaks it and grinds it and presses it. 

Kimmy: It’s nice to appreciate what’s in your own backyard. And when we support our local businesses, they really look out for us too. The community, if we need something, they’d be the first ones to bring food to your house. And you know where your food is coming from. 

Crissy: It’s important to know where that tortilla came from! And now it makes me want to go and make my own at home. 

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The first episode talked about staying grounded and having a solid foundation, and we saw that one of the ways you do this is by cooking. What are some other ways you have found to stay grounded? 

Crissy: Outside of the physical practice of yoga, it’s just taking a break. Stopping. Sometimes we get very caught up in the to-do list or the kids or whatever is happening. Just take time for yourself. It’s very helpful in staying grounded. And surround yourself with grounded people.

Kimmy: Something easy no matter where you are is your breath. It’s probably the easiest tool anybody can use to ground themselves. You can be in an airplane, in the grocery store waiting in line, driving…just taking a long, deep breath…there’s so many simple breathing techniques. Your breath is the quickest, easiest way to ground yourself. 

Crissy: Or taking a walk in nature. Just taking a walk connects you with the solid foundation, the ground.

Kimmy: Or music. And what ground me might not work for you. You kind of find that, what does it for you. 

Crissy: There is such a thing as being too grounded. Like if your root chakra is overly active, then you’re sluggish. You’re not motivated; you feel stuck. There’s being in tune with your energy centers, and your mood just helps you know that you’re too grounded, that you need to elevate. Finding tools in your tool kit that help you find that balance. It’s a journey. 

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What helped you most during the pandemic, and what advice do you have for people who are struggling to build a solid foundation in their lives?

Crissy: Sometimes you have to tune it out. Turn off the news. Be aware but don’t leave it on in the background. You have to carve out time where you’re safe in your environment with your family. Or doing things that you enjoy, and that bring you creativity. Don’t let the outside world bog you down to a point where you can’t hear yourself anymore. 

Kimmy: I think a big thing that can bring peace to people is surrendering. As humans, we feel safe when we’re in control, or when we think we’re in control. But really we’re not in control of anything at all, especially the big things happening all over the world. So being okay with not being in control, which is just surrendering. Trusting the universe. And that’s a practice. 

Crissy: Anxiety is with us all the time. We have to surrender or find ways to assert control over how we deal with things, how we process it. Pick out something small. What can I do on a small scale that is going to help? There are little things we can do.

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Do you have any funny twin stories for us?

Crissy: When we were little–this is an example of how Kimmy and I, to this day, will tag team and get the job done and use our strengths to enhance the others weaknesses–we went to a Catholic school and wore uniforms. And our teachers were nuns, older nuns, that didn’t have great eyesight. So on days where there were two tests, I would study for math and Kimmy would study for history, and then she would take both history tests and I would take both math tests. And we never got caught!

 

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The Chin Twins airs Wednesday nights at 9/8c on The Design Network. To watch the episodes that have aired so far, check out The Design Network’s YouTube Channel!

 

 

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Categories
Culture Featured Theater

Review: ‘Love’s Labour’s Lost’ Wins Laughs in Hippie Lovefest

Shakespeare was funny, and not the kind of humor that you’d expect from a literary titan. His work often had a Seth Rogan sense of humor, reveling in the crude, crass, and sexual. You’d expect that 9th graders would love The Bard.

But then again maybe not. That sense of humor and playfulness is often missing when you’re learning about Shakespeare in school, and that affects a lot of performances. Performers think they’re being respectful to the text, but they’re missing the point of it. 

Director Thomas G Waites’ version of Love’s Labour’s Lost at the Gene Frankel Theatre embraces that bawdy humor and playfulness. If this was your first experience with Love’s Labour’s Lost, you’d be confused to hear that it’s considered one of Shakespeare’s least popular plays. The cast’s performance–themed around Woodstock 1969–pumps new life into the show with innuendo, physical comedy, timely references, and song and dance numbers. They breathe life into a side of Shakespeare’s comedies that rarely translates onto the stage. All while wearing the vibrant colors of hippie culture in all of its glory. 

Waites’ Love’s Labour’s Lost is hilarious. The cast, especially the criminally under-utilized Brandon Hynum and Josh Rubenstein as Don Armado and his page, lean into the show’s humor and innuendo with physical comedy, pulling chuckles and laughs out of the audience. Most of Shakespeare’s patrons were peasants paying a penny to stand in a crowded yard, cheering and laughing in front of the stage. His audience was not high-brow. Some of the jokes are off-color by nature of origin, but Waite’s cast plays along with them to maximum effect. The effect is that a bell-bottomed and flower-dressed cast manages to transport you back in time much farther than 1969. You can almost hear the laughter in the yard.

Waites has also managed to rework many of the reference-based humor. And it’s needed. Even the best political jokes get stale after their subjects have been dead a couple of hundred years. What is a Muscovite? Did you know without googling it? What would it add even if you did know? Far better for Boyet to proclaim of four disguised lovers: “They do, they do: and are apparell’d thus/ Like Hippies or Beatles, as I guess.” The costumes, complete with wigs, had the whole crowd laughing. Other lines reference our own current events, as the originals did in their time. I’ll leave those as treasures for you to find on your own. 

The biggest diversion, though, is music. Where Love’s Labour’s Lost is conspicuous for its lack of music, Waites’ production added a musical interlude between each scene, with characters singing ‘60s music and dancing to multi-colored lights. It feels like the musical transitions from the Austin Powers movies, but longer. The songs are all classics and the cast performs them well. But at the same time, the music rarely added anything and often detracted from the scene. 

When the king and his men approach disguised as Beatles, the princess and her ladies resolve not to dance with them no matter their seductions. But as soon as the “Beatles” enter, the cast bursts into a rendition of ‘With a Little Help From My Friends,’ and all begin to dance. When the play resumes, the refusal to dance feels empty and the scene has lost all stakes. 

Overall, though, the show is a lot of fun. The cast is energetic, the performance is sharp, and the joy the actors take in the work shines through in every scene. If you love Shakespeare, or if you hate Shakespeare, or if you just happen to be free one night, check out this unique and fun adaptation. 

Cast

The cast of LOVE’S LABOUR’S LOST features Luis Guillen, Olivia Hardin, Brandon Hynum, Daniel Kornegay, Grace Langstaff, Joshua Lazarus, Robert Thorpe, Johnathan Mastrojohn, Melissa Molerio, Chandler Robyn, Will Rosenfelt, Josh Rubenstein, Annie Sizova, Steven Smith, and Julie Spina.

LOVE’S LABOUR’S LOST is adapted and directed by Thomas G. Waites. Set design is by Tekla Monson; costume design is by Jason Vincent; lighting design is by Gilbert Pearto; and props design is by Thomas R. Gordon, also serving as Stage Manager. Roger Cacciotti produces.

Categories
Culture Featured Movies

Review: ’18 to Party’ Explores Teen Experience in Slice-of-Life

Jeff Roda’s debut creation shines a light on the harrowing teenage drama of sitting around in a group doing nothing.

Everything feels like a big deal when we’re younger. Teenage girls get the stereotype of endlessly complex gossip and rumormongering about nothing, but that’s unfair–those social conspiracy theories are really the non-stop inner monologue of a young teen mind. They don’t have the filter of experience yet, so every interaction feels significant. Maybe even life and death. 

By some magic, writer/director Jeff Roda has trapped us in that world again. 18 to Party, his directorial debut, perfectly captures all of youth’s anxiety and fear in a plot where young teens mostly sit around and do nothing. He knows that, for young teens, every social interaction is dramatic enough for the silver screen. 

18 to Party is the story of a group of 8th graders in 1984 upstate New York waiting to see if they get into a small-town nightclub. Exiled to the back of the building to wait, the kids talk, argue, and discuss the strange happenings of their town. 

If the film has a main character, it would be Shel (Tanner Flood, Unbreakable Kimmy Schmidt), a perennially anxious boy who looks younger than most of his classmates, especially his friend Brad (Oliver Gifford, Unbreakable Kimmy Schmidt). We meet Shel agonizing over a test grade. He used to be “full honors” but isn’t any longer. Now he’s gotten a 3/5 on a quiz–a devastating blow. As subplots twist and unfurl, we realize that Shel’s previous academic record isn’t the only thing that’s bothering him. The kid is so wound up about his life that he has a hard time expressing himself about anything. That includes the aliens. Yes, aliens. There have been possible sightings around the town, and most of the parents are at a meeting discussing the possible extra-terrestrial incursion. 

Tonally, 18 to Party screams Richard Linklater’s “Slacker,” the 1990 film about nothing much happening in Austin, Texas. The kids out back behind the nightclub mirror the inane conversations of Slacker, covering conspiracies, art, and life, and passing the time with what feels like idle discussions. 

More than anything, though, 18 to Party feels like dropping in on an episode of Stranger Things that takes place between seasons. The beginnings of the conflicts happened in other episodes that we didn’t watch, and there are few developments. That makes sense in a show, where big changes accompany big moments. Big, definitive decisions happen when you’re getting chased by extra-dimensional creatures and shadowy agents. Life’s dramatic moments. And it’s clear that these kinds of moments happen in this 18-to-Party Universe. They just don’t happen in 18 to Party’s 90-minute run. 

So what’s the point of the story? If nothing else, it’s that these moments can still feel huge as a kid. We, as adults, as movie-goers, know that this story is almost entirely mundane. A different movie would skip it entirely for the more exciting nightclub scene. But that’s not how kids this age think. 

I still remember the abject terror I felt the first time I went to a high school Halloween party. I had seen Mean Girls a dozen times and knew the scene where Lindsay Lohan shows up…overdressed…to a Halloween party. Would this be the same? Would I get judged if I went in costume? It ended up the opposite: I was the only one not in costume, and I felt like every eye was on me the whole night. The entire episode feels like such small potatoes in retrospect.

Watching 18 to Party, you feel that hyperawareness of small details, a testament to the directing and the acting chops of the cast. When one character arrives and finds that all of his former friends have moved on without him while he was gone, you feel the weight press against him. Every twitch and fidget, every set of awkwardly shifting eyes, pushes him out of the group. If you watched the film on mute, you could follow the plot with body language alone.

That’s not to say that 18 to Party is without flaws. Unlike Linklater, Roda teeters between pure slice-of-life and a deeper metaphorical meaning. Certain elements, like the recurring UFO discussion, poke at a deeper meaning, but can’t seem to make them coalesce. It leaves some of the thematic exclamation points feeling more like question marks. 

18 to Party is a fascinating and fun ride for anyone who remembers their early teen years. In fact, it is so vivid that anyone who has forgotten those years might have flashbacks. A cast of young, mostly inexperienced, actors pull off great performances. Writer/director Roda shows a talent worth paying attention to with his debut in both roles, channeling a moment that feels as real as Linklater’s Slacker. It will be interesting to see whether this is a one-off passion project or the first of many promising creations.

Categories
Business Real Estate

GDSNY’s Michael Kirchmann talks 27 Mercer & more

Michael Kirchmann
Michael Kirchmann

Michael Kirchmann is the founder and CEO of GDSNY, an international real estate development, architecture, and design firm. Headquartered in New York, GDSNY is unique in not only developing properties, but also providing architectural design and art expertise. Prior to founding GDSNY, Michael worked at top firm Skidmore, Owings & Merrill for over a decade. His credits include projects for the Four Seasons, Park Hotel, Arcapita, Oracle, and JP Morgan.

27 Mercer is one of Michael’s newest projects. The building was first built in 1867 by Ritch & Griffiths for retail and textile purposes. Now, 27 Mercer has been restored into luxury housing, and most of its units have already been sold. For more information on both 27 Mercer and Michael, please visit www.gdsny.com.

27 Mercer
27 Mercer

Can you tell us a little about your unique practice, as you are both architects and developers?

MK: At the core of our practice is design excellence. And this is driven by our pursuit of quality and innovation. To empower that process, we take an integrated approach across a broad range of disciplines on every project we encounter. GDSNY was founded with the philosophy of servicing our clients on many design platforms from architecture, digital, graphic design, art, to industrial design. For our team, the end goal is always the same: produce a great product. We are motivated by excellence, which is why we work with the best, whether it be our clients, partners or artist. For us, design excellence and quality go hand and hand.

How did you wind up working on 27 Mercer?

Michael Kirchmann: SoHo has an incredibly rich artistic and creative heritage with iconic cast iron architecture. There are only about 200 cast iron buildings left in the world, so the opportunity to purchase and work with the design on these 2 buildings was exceptional. We had to do it!

The history of the building itself is fascinating: 27 Mercer was built in 1867 as a textile factory above the street level and a fashion store at the ground retail level, so the history of the building itself was a great draw. In fact, at this time, in the middle of the 18th century, SoHo was the suburban shopping destination for Manhattan residents who lived downtown. Almost 170 years later, SoHo is now the de facto fashion capital of the world.

GDSNY's office
GDSNY’s office

How would you describe the design to someone who hasn’t seen it?

MK: Most of these cast-iron buildings in SoHo were constructed during the period from 1840 to 1880 when there was no electricity, so the windows and ceiling heights were built to be large to bring in as much natural light as possible. This was certainly the case at 27 Mercer. We sought to expand on that notion of bringing natural light into the building, and so we created a 15’ x 20’ private courtyard in the middle of the floorplate, and transferred that built area to a new 4th floor living space. That had the effect of activating three new outdoor spaces over three floors. The resulting architectural form is very sculptural and captures amazing natural light at all times of the day, and results in really iconic outdoor and indoor spaces.

The three floors are accessed by a custom steel and glass staircase, as well as a private elevator at each level. There are currently four bedrooms, five bathrooms, and two powder rooms, but the home has been designed to allow the flexibility for a total of seven bedrooms. There is 4,805sf of interior space and 1,680sf of exterior space.

27 Mercer rendering
27 Mercer rendering

Do you have a favorite feature of 27 Mercer?

MK: The courtyard is the defining feature around which everything occurs. It essentially works like a traditional courtyard house in plan, with a modern touch. You can sit in the space and look up, uninterrupted, to the sky, in a setting that is truly unique for SoHo. The courtyard activates the home by creating that central communication moment, from inside to outside, both vertically and horizontally.

We also selected the fixtures and finishes to work well alongside the historic architecture. Wide oak hardwood floors, warm Roman Silver Travertine, book-matched marble slabs, and fireplaces all continue the tradition of rich materiality of SoHo.

What is the timeline for 27 Mercer? Are any of the units already sold?

MK: 27 Mercer is part of a larger development known collectively as 25 Mercer, which has been very successful. In addition to 27 Mercer, only have two units left — both are three-bedroom floor-through lofts that feature original cast-iron details from 1861, and one has an amazing private outdoor terrace. We hope to be sold out by year’s end.

Aside from 27 Mercer, what is coming up for you?

MK: We are designing and developing a new condo and retail project on the Highline Park at 10th Avenue and 25th Street. That project is very exciting and I hope to share more details on that project in the coming months. Stay tuned.

Any special plans for you around the holiday season? Fun or exciting events you plan on attending?

MK: Yes, my family and I are heading upstate to a friend’s farm near Woodstock for Thanksgiving. It is great to get out and explore the outdoors, but always wonderful to come back to the city after the weekend, when all the stores in the City install their new holiday displays. Such creativity and energy! It is a magical time of the year!