This article discusses the exploration of the repertory model in Tom Stuart’s 2019 play After Edward, produced at Shakespeare’s Globe. Performed in repertory with a production of Edward II, After Edward dramatizes Diana Taylor’s sense of repertoire; the embodied skills of the actor and the heterochronic site of the Sam Wanamaker Playhouse allow Stuart as actor and writer to reconcile his lived experience as a gay man with his work as an actor. Based on this case study, this article argues that After Edward enacts a praxis of ensemble as artist development.