"The Spectacle has, indeed, an emotional attraction of its own, but, of all the parts, it is the least artistic, and connected least with the art of poetry. For the power of Tragedy, we may be sure, is felt even apart from representation and actors. Besides, the production of spectacular effects depends more on the art of the stage machinist than on that of the poet."
--Aristotle
Words don't deserve that kind of malarkey. They're innocent, neutral, precise, standing for this, describing that, meaning the other, so if you look after them you can build bridges across incomprehension and chaos. But when they get their corners knocked off, they're no good anymore…I don't think writers are sacred, but words are. They deserve respect. If you get the right ones in the right order, you can nudge the world a little.
Hair was expected to flop finanically...it didn't even have all of its backers until until previews began and then it made all its money back 3 months becoming one of the quickest financial recoupments in Broadway musical history.
Chicago was so unexpected, they originally went into the Richard Rodgers Theatre for what was supposed to be a limited run. Steel Pier already had it booked for later that spring. Luckily, "big - the musical" closed, making the Shubert available, so Chicago moved there to continue its run. In 1998, after Chicago had been running a little over a year, they announced that tickets were on sale for the Millemiun New Years Eve performance. People thought that was crazy =- there was no way it could run another two years. It ran another 14 (and counting).