Projections, like any design element, can be executed well or poorly. I have seen terrible productions that absolutely cheapen the feel of a show, and I have seen beautiful, subtle, or immersive projections that elevate the show to another level impossible to achieve without them.
The use of them in BRIEF ENCOUNTER, for example, was breathtaking. Integrating the cinematic with the theatrical in perfectly logical and beautiful ways. I found much of the set-wide projections in BIG FISH to be distracting, but on occasion during the show they were sublime. The projections in JEKYLL AND HYDE we're so laughably cheap they almost made the show better, for being more ridiculous. But they didn't. I have to stress that that was the worst thing I've ever seen.
It varies on a case-by-case basis. Sweeping generalizations are always wrong.
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.