“Childs creates a world where we feel anything could happen–a truly universal world that’s primordial in its understanding of humanity.”
– Elle Magazine

"An emotional wild ride, which hits the heart before the brain." -Tokafi

“[CLICK] was a newly born classic, like Steve Reich’s Clapping Music only a thousand times more virtuosic.  Myself, I can’t whistle, but afterward everybody who could, did.” 
– Village Voice

“Mary Ellen Childs’ quiet pointillistic OA POA POLKA had notes peeping from all over the accordion, with the oompah just barely winking into view.” 
– New York Times

“Mary Ellen Childs has a clear style, balancing sound, structure, and rhythmic generation; her work PARTERRE has a purity to it, and reminds me of looking through a beautifully cut crystal glass that refracts the world around it.” 
– MS Magazine

“The gem of the evening was Mary Ellen Childs’ FOUR OF ONE OF ANOTHER.” 
– Chicago Tribune

“…a virtuoso demonstration of videowall integrating imagery with audio in humor, charm and artistic balance.  It has the integrity that makes visuals and [sound] more meaningful combined than either is alone. -Multi-image Magazine

“…some of the most original stage artistry since Blue Man Group.” 
– Vital Source

“PARTERRE…a throbbing, postminimal continuum that has both grateful solos and a dark, humid atmosphere.” 
– Village Voice

“Mary Ellen Childs’ CLICK won a standing ovation.  A man and two women struck in precise synchronization clave sticks they held, then, like jugglers, turned in deadpan rhythm to slap each other’s sticks. …It would have been “heard,” and enjoyed, even as a silent movie.” 
– Downbeat

“….an enveloping and entrancing audio quilt composed of organic reeds, sylvan accordion, timepiece xylophone, seductive polyrhythms, and somewhat histrionic wordless vocals.  PARTERRE is an altogether surprising, accomplished, beautiful work that creates its own little universe.” 
– Twin Cities Reader

“Music just on the borderline between serious and sassy and constantly crossing over.” 
– St. Paul Pioneer Press


“The propulsive music of Mary Ellen Childs played live by onstage musicians considerably ups the ante. Childs’ score, which sounds like a soundtrack for some noir thriller infected by the driving ostinato of Steve Reich, carves out a menacing soundscape that drives Wreck to its very last gasp.” 
– Dance Magazine

“Here is all the pathos one could wish for in 14 continuous movements, inspired by the composer’s personal brush with the destructive and creative processes of home remodeling: long soulful lines, slow, powerful build-ups,and recorded sounds of actual home demolitions elegantly woven into various sections.  The quietly searing whistling of “Very high” sounds like a broken heart; “Waiting” is also painfully sweet.  The phrases everywhere ar eentirely discernible and feel organic.  Ethel sinks into the music–the playing and the music are united completely.”
– American Record Guide