This chapter explores aspects of Shakespeare and d/Deaf culture, including representation in Shakespeare’s works and in mainstream productions, the history of performing Shakespeare in signed languages such as American Sign Language and British Sign Language, as well as issues of sound and inclusivity. As an introduction and survey of professional and scholarly approaches to the topic, the chapter opens with a discussion of deaf representation in Shakespeare’s Julius Caesar and ear imagery and metaphors in Hamlet. The chapter then turns to a discussion of the history of deaf Shakespeare performance by considering deaf biographies, including oral deaf individuals such as Terry Galloway and signing deaf individuals such as Robert F. Panara and Charlotte Arrowsmith. The work of Peter Novak, who has staged and written about deaf performances of Twelfth Night is also considered alongside more recent work in deaf performance, including a discussion of Gallaudet University’s 2019 production of Romeo and Juliet, which is the first recorded production of Shakespeare in ProTactile, a language focused on touch that has been developed for DeafBlind people in recent decades. The chapter offers many ways of thinking about deaf representation, deaf performance history, and signed deaf performance more broadly that should be useful for students coming afresh to the topic, theatre practitioners considering deaf approaches to their craft, as well as Shakespeareans seeking a deaf point of view on Shakespeare and sound.