The attitude behind "play the repetition differently", especially for certain composers like Mozart for example, misses the entire point underlying what repetitions really "do" for larger musical forms. It 'snot that you won't do something different, but what you do is informed entirely by your sense of the large scope of the work rather than just merely doing something different to maintain interest.
Very, very roughly you can start developing the instincts of what to "do" by abstracting the entire section upon the first play-through as a "downbeat" and then repeated as an "upbeat" that transitions and flows into the next section that continues on. (Obviously, adapt this overall concept to the particular situation at hand of when this repetition occurs within the form.)
People warn about the "tyranny of the bar line", but there's a larger version of that same basic error when it comes to long form and repetitions. You really have to a vision of the whole piece and how entire sections can almost have the same type of behavior people typically see at more local levels like measures/phrases.
Oswald Jonas quotes a letter supposedly by (though possibly apocryphal) by Mozart:
"And the thing becomes really almost finished in my mind, even if it is long, so that thenceforth I can see it at a glance, as if I were looking at a beautiful picture or a comely person; and I can hear it in my imagination, not in temporal succession, as will always be necessary in performance, but as if all at once."
Topic: Mozart sonatas: how to play the repetitons differently