A. A setting forth of meaning or intent.
B. The presentation of information in clear, precise form.
C. A public exhibition of broad scope.
D. The title of a stealthily hilarious “theatrical collision” directed by Michael Gardner and written by Matthew Freeman along with their pitch-perfect seven member cast (eight if you include The Couch, which got its own bio in the program, though I doubt it did much writing).
And letter D is all of the above and then some, and tonight it concludes its quick three-day run at The Brick Theater in Williamsburg, Brooklyn. The one hour show is rollercoaster comedy for the Dada crowd, a series of fun sketches in which the actors dressed in eveningwear as if for a Bunuel dinner party make small chat like aliens inhabiting human form, dialogue often overlapping and repeating as in a musical composition. “I squatted and peed on my own desk,” one actress declares in a “Saturday Night Live” Coneheads cadence. “To this day I believe it’s the most amount of blood that ever came out of my body,” a smiling tux-clad actor brightly chirps 50s TV sitcom style in fond recollection of his first car accident. (“And then I thought, ‘There’s another person in the car with me,’” he later adds, followed by, “No, that’s the person from the other car.”) There’s a tantalizing chemistry between the show’s director and its playwright who together make great use not only of the sparse black box stage, but also of the uncomfortable silences stretched to the breaking point of hilarity. “Why are we the only two people here?” an actor wonders even though there are six thespians onstage. Between the body language and emotions that don’t connect with the spoken word, and the words that don’t connect with any semblance of (staged) reality there’s enough in “Exposition” to make even the most cynical surrealist cheer.