> selected press quotes

The New York Times called him "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."

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 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."

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."

Variety says his writing has "antic charm."

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."

St Louis Riverfront Times writes "Jarrow's music is definitely of the downtown New York scene, with riffs that sound by turns like modern-era Sonic Youth and classic Patti Smith" and its theater critic called Love Kills "one of the most heart-wrenching love stories I've enjoyed."

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. The songs in Love Kills are honest-to-god real rock and roll, but they're also excellent theatre songs. They 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."