HOLY SHIT THAT WAS FUN

A rip-roaring, rowdy, rollicking time was had by all, and I couldn’t be prouder.

Thank you to everyone who joined me for this sold-out night of pure joy.

If you missed it:

FUNNER is simultaneously an homage to classic cabaret - stand-up, parody, storytelling and audience engagement, and a tribute to current local flavor - a fabulous live band, a bevy of magnificent guest singers, and a truly historic venue.

Rated so very R.  

#MMCisFunner

 MMC IS FUN

On April 23, 2018, for one night only, Nashville stage favorite Megan Murphy Chambers took us on a boozy, bawdy musical comedy adventure we don’t often see in this town. 

MMC is FUN was an homage to classic cabaret—stand-up, parody, storytelling, audience engagement, and a tribute to local flavor—a fabulous live band, a bevy of magnificent guest singers, and a truly historic venue.  

MMC is FUN featured a wide variety of musical styles interwoven with Chambers’s inimitable monologues. It was a packed house, and an unreasonable amount of FUN was had by all.

read more about it in NASHVILLE ARTS MAGAZINE

MMC IS FUNNER

Following up on the raucous, sold-out event that was Megan Murphy Chambers is FUN in 2018, MMC is back and ready for FUNNER.

“The response to FUN exceeded my wildest dreams, and the whole night felt like one big party. There’s nothing quite like the adrenaline of only having one shot to make your music and tell your story, and I’m excited to take the leap again. The Belcourt was the perfect venue last time around, and I’m taking a very ‘if it ain’t broke, don’t fix it’ approach to my preparation for FUNNER.  My aim is to deliver the same kind of energy, quality and hilarity as last time, only better. I can’t wait to step out there and have the time of my life, and I hope to pack the house again with an equally enthusiastic audience.”

 ALWAYS, PATSY CLINE

“Nashville favorite Megan Murphy Chambers takes on the title role with appropriate sass, while capturing some of the world-weary emotion that marked Cline's remarkable voice. She serves up some fantastic renditions of Cline classics.” -ARTS NASHVILLE BLOG

AVENUE Q

“As the wonderful Kate Monster and her equally estimable competition for Princeton's affection, Megan Murphy Chambers is so good you might assume the role was originally written just for her, and her performance of "A Fine, Fine Line" is one of those musical theater ballads that will have you alternating between emotions. It is lovely and refined (it is so well-suited to Murphy Chambers' voice) that you can lose yourself in her performance, only to be brought back to reality by the tears in your eyes as she so effortlessly breaks your heart. And when Kate Monster and Princeton finally go to bed for one particularly wild ride on Mr. Toad, the scene is rapturously funny and artfully profane...trust me, you won't soon forget the experience.” -BROADWAY WORLD

AFFLICTED: DAUGHTERS OF SALEM

“As with “The Crucible,” Williams is clearly the antagonist here, but Chambers is too smart to portray her as pure villain. She gives a nicely shaded performance, balancing her character’s obvious daring and charisma with glimpses of a steely-eyed survivor who will not be undone.” -TENNESSEAN

URINETOWN

“Megan Murphy Chambers very nearly steals the entire production away from the rest of the talented ensemble as the mysterious Penelope Pennywise, the overseer of Public Amenity No. 9. Chambers again shows off unerring onstage skills, commanding every scene with aplomb - if there is a more watchable musical theater actor in Nashville, show her to me now.” -BROADWAY WORLD

“Chambers shines in comedic roles, and she gives it her all as Miss Pennywise with a perfect delivery of "It's a Privilege to Pee" — she lets loose with her impeccable vocal prowess, blowing away the audience.” -NASHVILLE PARENT

GOOD MONSTERS

“Chambers strides onto the set with confidence and commitment, giving voice to the words written by Eppler with sincerity and an unerring sense of forthrightness that, in retrospect, is almost frighteningly unhinged. And if Nate Eppler is Music City's best-kept theatrical secret, then Chambers must be every director and/or playwright's most-desired interpreter of their vision. Every scene in Good Monsters - no matter how moving or electric - is made better by the force of Chambers' will and her unequaled skill in bringing a character to life.” -BROADWAY WORLD

MARY POPPINS

“But it’s hard to imagine a more perfect choice for the title role than the multitalented Megan Murphy Chambers. With amiable spirit, endless energy and gorgeous vocals, Chambers approach to Mary Poppins is as expected — “practically perfect in every way.” -TENNESSEAN

ELEPHANT MAN

“Megan Murphy Chambers, one of the region's most gifted actresses whose range is mind-altering (she's so adept at playing comedy that when she tackles a dramatic role, it's nothing short of breathtaking) and inspiring, to say the least. As Mrs. Kendall, … Chambers is ideally cast, capturing the high-strung and over-the-top personality of her character so beautifully that she is able to (just as easily) display the warmth of the genuine woman behind the theatrical façade. Her initial interactions with Treves and Merrick are wonderfully madcap and slightly naughty, it would seem, while her later moments are underscored by real emotion and a depth of character perhaps unattainable by someone less gifted than Chambers. And that she cuts such a gorgeous figure in Logan's costumes only adds to the scope of her staggering portrayal.” -BROADWAY WORLD

COMPANY

“Yet if anyone could possibly steal the show out from under any of these seasoned stage veterans, leave it to the inimitable Megan Murphy Chambers, the most confident and self-possessed comic actress on a Nashville stage, to do it with her portrayal of Amy. With a performance of "Getting Married Today" that makes it seem as if Sondheim wrote the song expressly for her talents, Chambers knocks it out of the ball park.” -BROADWAY WORLD

I LOVE YOU, YOU’RE PERFECT…

“Clearly, Chambers can do no wrong and is completely unafraid of showing us everything that's in her; her performances are consistently engaging because of her total lack of guile and her innate grace, her tremendous acting and singing talents notwithstanding.” -BROADWAY WORLD

PETER PAN

“Literally and figuratively at the helm is Megan Murphy Chambers as The Actress. Costumed for her role in the show within the show as Captain Hook, Chambers is a fantastical vision, complete with a faceted silver lamé hook! Just imagine if Helena Bonham Carter were cast as Hook in a production directed by Tim Burton, and you’re there. If it’s possible to have a crush on Captain Hook, I confess, I indeed have, especially in the form of one of my longtime theatre crushes, the commanding presence that is Megan Murphy Chambers.” -JHP ENTERTAINMENT

“Megan Murphy Chambers also shines, balancing the dual roles of the wise leader of the acting troupe and the scheming Captain Hook. Her cheeky "Right Hand Man" is espcially fun, and together with a host of bumbling pirates, she serves up a comical "If I Had a Mother".” -BROADWAY WORLD

MACABARET

“But for my money, it's Chambers' show. She gives such a vividly off-the-wall performance that you can't take your eyes off of her; her big Act Two number, in which she sings of being "Possessed" is a comic tour de force and the versatile Chambers chews up every last piece of scenery with a self-assured charm that is dazzling.” -BROADWAY WORLD

RAGTIME

“Megan Murphy Chambers is simply radiant as Mother. Her voice soars in big ballads such as “Back to Before,” and yet she still manages to bring a bit of nuance to the role.” -NASHVILLE SCENE

“The various performances in Ragtime are exceptional. Murphy Chambers is lovely as the compassionate Mother, and her soaring rendition of "Back to Before" very nearly stops the show late in Act Two. Murphy Chambers has never been more beautiful nor has she ever shown more stage presence as she does in this production. Her onstage chemistry with Fott, who manages to create a multi-dimensional character from one written rather singularly, and Wimmer (as the Latvian-born Jew who rises to prominence in the early days of the film industry based on the east coast) is palpable and the relationships of the three are richly etched and authentically acted.” -BROADWAY WORLD