The New York Times called Kyle "NYC's hipster playwright."
The New Yorker wrote, “Mr. Jarrow is the kind of writer who likes to provoke people."
The Village Voice wrote, “Jarrow is a playwright both droll and humane" and praised his "pop rock scores, irony so thick it's spoon edible, [and] unexpected tenderness."
Deadline Hollywood says, "Jarrow is an accomplished playwright and, well, a rock star. At 24, he won an Obie Award for A Very Merry Unauthorized Children's Scientology Pageant; the feature Armless which he wrote premiered at Sundance; and he [plays in an] indie rock band."
American Theater Magazine called him "a wiry, casually intense icon of geek chic."
The LA Times called him “an iconoclast” and called Scientology Pageant "lethally gleeful... an instant cult classic."
The New York Sun wrote, “Jarrow's rapidly growing body of work proves that just because something is entertaining doesn't mean it's trivial.”
The Victoria Times Colonist said, "Jarrow is a smart, talented playwright who's not afraid to ask hard questions and is bold enough to offer disturbing answers."
The Huffington Post wrote, "Jarrow's sharp dialogue and crisp pace are stellar."
The Austin Chronicle called him “a wunderkind."
Time Out New York called Kyle "a weird and endearing dramatist."
The New York Post called Scientology Pageant "a modern classic."
Curtain Up wrote "Jarrow's writing is messy, giddy and poignant, and at its best, all three at once. Most importantly, Jarrow's work continues to prove that he is not afraid of playing with fire."
Boston's Weekly Dig wrote "Jarrow's melodies are insanely catchy... [he's] a Brooklyn-based whiz kid."
In the book Sex, Drugs, Rock & Roll, and Musicals, Scott Miller writes "Like some of the other great composers working in musical theatre today (Bill Finn, Larry O'Keefe, Adam Guettel, Tom Kitt, Jason Robert Brown), Jarrow knows how to use a rock/pop vocabulary in the theatre without violating the conventions of a musical. His songs have the repetition and surface simplicity of real rock and pop, but they also have the continually unfolding complexity and communication of important information that theatre songs need to do good storytelling. If you listen closely, there are hundreds of tiny, subtle moments that elevate the lyrics... and so often, where there is repetition, there is also subtle variation that changes the emotion or context just enough that it moves us forward dramatically."
Kyle was featured in the 25th Anniversary issue of American Theater Magazine.
Click here to see the profile of Kyle's band Sky-Pony from The Village Voice.
Click here to see a Time Out feature on Hostage Song.
Click here to see the review of the Scientology revival by John Lahr in the New Yorker.