If the light and the weather were on your side, the file already has the picture. Development is there to keep the sky blue and the lights from burning, not to invent a postcard.
I work in Lightroom. The same order works in Capture One, Darktable, or the software that came with the camera.
Calibrate the screen first
A dark, cold laptop in a kitchen will make you open the shadows too far. Use a hardware calibrator if you have one (Spyder, i1, Huey — anything you actually run). If you do not, use the OS display calibration and a simple greyscale test image. It is not laboratory-accurate. It is better than guessing.
Exposure, then colour
Open the raw. Bring global exposure until the sky is the blue you saw — usually a small move, not ±2. If you need more than about 1.5 stops either way, the capture was off; note it and expose closer next time. Pushing a night file that far brings noise and fried highlights on shop signs.
Then white balance. I usually land between 4000K and 4800K. Cooler makes the sky more blue and quickly makes skin, stone and sodium lights look sick. Watch a known-neutral object in the frame (a white sign, a concrete wall) while you drag the temperature.
JPEGs: levels and curves
If you only have a JPEG, use Levels or Curves. A blue-hour histogram is heavy on the left — that is the sky and the unlit stone, and it is normal. Ease the black point a little to the right to deepen the blue. If the lights feel dull, lift the highlights a touch from the right, not with a heavy midtone grab. On a curve: one anchor in the lower third, gently down; one near the middle, gently up. Small moves.
What I skip
I do not run a “night sky” preset and I do not add a blue gradient on a sky that was grey. Clarity on the whole frame turns streetlights into plastic. Noise reduction last, and only as much as the print size needs. If the file cannot hold the lights and the sky together, that is an HDR or exposure-blend problem from the shoot, not a slider problem now.