Surely this is the knock on MERRILY WE ROLL ALONG, no? That the concept is too difficult to work without exposing some flaw(s) or another, but that the score is usually (if not unanimously) praised as one of Sondheim's most beautiful.
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.