As it stands, there's an obvious symmetry created by semi circular lights and their reflections. This symmetry falls down due to the bright lights on the right and the relative (relative, not absolute) darkness on the left. Which leads me to the thought that something may need changing to make a stronger image.
Now consider the rings. To me, they appear to invite entry from the left hand side (or, alternatively, are pointing towards/looking towards the left.
On that basis, I'd cut the right hand side out, placing the edge of the outer ring near to the edge of the frame, leaving four of the railing posts in. Cropping there leaves the purple bar and what looks like a wooden beam in the frame to act as "stops" on the bottom right corner. This tightens up the composition, and removes a major competing element.
I don't go along with cropping out areas because they are too dark to show detail. Art should look at the balance of tonal masses just as much (in most cases, far more) than simply concentrate on detail. Photographs are by their nature detailed, and this can make it difficult to see the wood for the trees. An overall structure aids in directing attention.
One tentative suggestion (if you make the crop as suggested) is to crop a small amount from the left to create a square image, which means that the symmetry of the subject is echoed in the symmetry of the image shape. A square image usually suggests strength and stability, as do the circles in the image.
The second version fails for me because there is still the same competition between the left and right hand sides - is it a photo of the wheel with distracting city lights, or a city nightscape with a whopping great wheel getting in the way? I certainly don't like the angle as I still feel the obvious right to left pull of the wheel which "looks out" that way, and which competes terribly with the lights on right.