The posted musical number order for the second act gives credence to the discussion of reverting the show to its pre-Streisand concert structure. Having other characters sing suggests the content of scenes has been restored via the new book, and Fanny doesn't have to carry every sequence musically. A good thing for many reasons.
What the show has always needed is what the greatest Styne show offers: a reversal in the second act that kicks-starts the storytelling. When Rose and company enter burlesque, Gypsy moves into complex territory, Rose literally given competition for the spotlight, because the title character must emerge. It's one of the greatest structural shifts in musical theater, pushing Rose's arc into a psychological trauma. When Rose's Turn arrives, it feels both shocking and inevitable; this is where we have been heading all night. Funny Girl, a traditional bio musical in shape and impact, doesn't have that degree of surprise, only Fanny fighting for love and career jump-start. The absence of emotional suspense is what always damaged the show and the film: Fanny gets Nick and can only lose him again. It looks like using Nick's participation in the break-up -- his involvement in "Who Are You Now" at least gives a nod to a needed surprise: the show's downward romantic ebb costs both characters, not just Fanny. Of course it's not on par with the emergence of Gypsy Rose Lee. But it does suggest that this gifted and charismatic actor's being cast as Nick may be the show's secret weapon: the love story has a more developed prism. Unlike Sharif's Nick, who more or less weakly slides out of the story with his criminality, this Nick will pay emotionally. It's a good decision, to my thinking.
"I'm a comedian, but in my spare time, things bother me." Garry Shandling