The play ran at the Southwark Playhouse from 19 September 2022 to 8 October and a filmed version was released to the streaming service Nebula on 16 February 2023.

The Prince garnered several awards from The Offies and BroadwayWorld as well as mixed reviews from critics, who praised its approach to Shakespeare and its transgender themes but critiqued certain plot elements.

Though Hotspur intends to execute the captured leader of the Scottish forces, she lends him to Prince Hal when he agrees to convince his father to ransom her brother-in-law, who had recently been taken prisoner by Welsh rebels.

Sam, a care home manager, explains to Jen that she encountered her in Julius Caesar and implies she rescued her because they are both trans women.

Sam shows Jen a magical map with a doorway that would allow them to escape to the real world at the end of Henry IV, Part 1.

As a result, the plot deviates from Henry IV, Part 1 and the characters slip into modern dialect, question their medieval perspectives, and become more aware of the set and audience.

After Lady Kate leaves angrily, Hotspur's uncle informs her that King Henry IV and Prince Hal have unexpectedly arrived to fight in person and that her father is sick and cannot join the battle.

[2] British YouTuber and actress Abigail Thorn began drafting The Prince as a drama student out of an interest in exploring the character Hotspur and writing scenes in verse.

[17] Thorn said that Shakespeare is fit for trans allegory as his performers were originally all male and his writing was dense with jokes about people dressing up as or being confused about other genders.

Wyver found that the plot mechanics brought "frustrating confusion", but that the audience would "see these characters anew" through a queer lens, and that "glee oozes from Thorn's playful juggling of Shakespearean language around identity and performance".

[21] The Stage's Frey Kwa Hawking praised the multiple trans characters and the ambition of the play, with its "tantalising ideas about the performance of gender and duty".

However, Hawking criticised aspects of the pacing and narrative, such as the "text-heavy" nature, "creaking plot mechanics", length of time spent in Shakespeare's play in the second act.

Characterisation was also critiqued by Hawking, including the "under-explored" nature of Kate and Hotspur's marriage and "thinly sketched" relationship between Jen and Sam.

[8] Oliver Pattrick of The Reviews Hub similarly praised the transgender themes while criticising the writing, summarising that "it feels like the script needs a further rewrite to realise its full potential".

Pattrick suggested that the plot mechanics be made "less prominent", that Hotspur's discovery of her womanhood needed more "depth" and slower pacing, and that the humour was overly reliant on "incongruity of blunt modern slang as a response to elaborate archaic language".