The audience gathered at front of house and when the house opened were led in, row by row into the pitch-dark auditorium, and were seated by members of the sighted company using infra-red monitors and communication devices, so the dimensions of the theatre were obscured to those who have vision.

At the top of the show, the three visually impaired trainer characters enter in the dark from different directions, calling out “Ray” and congregate in this basement area wondering where the person is who has hired them to deliver their training to a gathering of social workers. They are unaware that the space is pitch dark. As they hear the audience is present, they decide to continue without him. In succession the trainers present in a direct fashion at first, with each becoming more animated and cabaret-like, as a very dim light accompanied by an earie sound begins to pick them out. The first trainer transforms into Bifuckular who flamboyantly sings the rest of her presentation, reflecting a supposed need for attention under the scars of many medical surgical interventions. The next trainer’s presentation on assistive products for the visually impaired, opens up from the mundane when the Sheer Ray vaguely illuminates Cataracto, whose demonstrations take on the tone of magic tricks, expressing his supposed need for control, like releasing a flock of birds, the feathers of which fly across the heads of the audience while a sound effect of beating wings plays loud. The third trainer enters and begins her serious presentation on equality and discrimination law, but pray to the dim Sheer Ray, Miss Stagmus’s mocking inner alter-ego of shame breaks free to disrupt her training, and this character, Squint, tells scurrilous blind jokes across the serious equality training until she is chased in the dark, caught by Miss Stagmus, and locked in a metal box; a live prop. The trainers learn from the audience that the space is dark and invite them to call out if they see anything, and then exit in search of Ray. Moving off in different directions, their voices and tapping reaches beyond the confines of the playing space, as a pre-record of these sounds is picked up through positional speakers, allowing their voices and tapping to extend far into the distance, creating an audio illusion in the dark that the space extends much further than it does.

Using the same technique, the trainers come full circle and re-enter the performance space, and together, they share with each other how they first met Ray, as they move around the circumference of the auditorium in ensemble, delivering a live soundscape in the dark, with overlapping dialogue and sound effects. They recollect how he had stalked each of them in various everyday situations and in doing so discovered their total lack of sight and something about each of their backgrounds. This moment is suddenly broken by three brief sharp flashes of bright light at different locations around the space that starkly illuminate one character after another in a hideous aspect. One stands in an open green surgical gown with bold vagina and huge distorted hanging breasts, wearing a grotesque mask of horrific eye and cosmetic surgeries, screaming “Look at me!”. The other is shown in a suit bound in a mass of coloured electrical cables and leather gimp mask, screaming “Unlock me!”. The last falls from a great height upside down wearing a body suit and mask of two faces crushed together, pierced by smashed shards of mirror, crying “Which one am I?”

The darkness returns and the audience ruffled, are quizzed by the three trainers who are oblivious to the shocking images just witnessed, and they ask for descriptions. Confused on hearing what is relayed by the audience, they all exit the performance space. In the dark, loud live-knocking is heard from inside a wooden box together with loud breathing and footsteps, approaching closer from a directional speaker.  Splintering wood sounds, the box bursts open, spraying splinters over the audience. Ray has aided Squint to escape and gets into a dialogue with her, the voice of this character formed by a combination of the other three actors using a mic, their voices treated through an effects unit. He explains what is really going on and bribes her to help him in continuing with experimenting with his new invention of the Sheer Ray. She enrols the audience to call out for the trainers to return to deliver more training, and when they do, a roving beam of bright light picks them out one by one, their presentations morphing into full burlesque acts.

The final part of Sheer is taken up with the trainers discovering Ray and Squint, confronting them and deducing the flaw in Ray’s belief that his invention shows up the truth, when in actuality it shows up his own distorted ableist notions about them, and that these beliefs can begin to seep into their general reality. Ray then uses it to project Squint’s demise and she is destroyed, so the trainers overpower him to use it to dispose of him, then turning their attention to the audience they move through the auditorium with drills, chains and sharpening knives.