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."
Forbes writes, "Kyle Jarrow is living the dream. The young writer is not only at the helm of a much-hyped TV show, but also one of the year’s biggest Broadway-bound properties. [He and his wife Lauren Worsham] front the band Sky-Pony together, which has amassed a dedicated following in New York’s indie scene... The couple straddles these divides with ease: the indie and the blockbuster, the stage and the screen."
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."
American Theater Magazine called him "a wiry, casually intense icon of geek chic."
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."
The LA Times called him “an iconoclast” and called Scientology Pageant "lethally gleeful... an instant cult classic."
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."
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."
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."