In 2004, Elysa Gardner of "USA Today" described the work as "a freewheeling farce with a soulful, searing conscience". She argued that Moore "delivers discourses that are at once searching, provocative and devastatingly funny. [...] Stoppard rejects the notion that religious and spiritual conviction automatically translate into anti-intellectualism". Ben Brantley of "The New York Times" billed "Jumpers" as "a poignant acknowledgment of the limits of cleverness [...] Like George, 'Jumpers' can seem all too swept up in its own cerebral whimsy. But it is also like George in the seriousness that underlies its diverting surface." Brantley said it is "less a showoff demonstration of what Mr. Stoppard knows than a humble contemplation of what he and all humankind can never know". Gabrielle Kloppers of "Bwog" praised "its convincing character portrayals and boundless sexual innuendo."