On Wednesday, one often had the sense the performers were filling in their realities for a measure or two, waiting for the right musical cue to come their way. One sympathizes. They take a long time to arrive. An advantage of the cut-down Las Vegas version was that some of that space was removed. But that's dead and gone and came at a cost anyway. The job left to do here for Connor and his associates is for the actors to learn how to fill their time and arrive organically at the next moments. Add in the reality that Brown's design and Paule Constable's lighting, which is rich and textured, rely on split-second timing and you get one tricky assignment, which perhaps explains why focus did not fall quite at the right instant on that tumbling light-fixture, or the stagehand in the noose. Brown shows you more of the Opera House, but, somehow, Bjornson made you see the old joint more clearly in your mind. It's harder to work the more complicated way. But that's the assignment this most famous of commercial musicals now has set for itself.