Teddy's ironism
Teddy says many things that can be considered ironic, such as labeling his family "warm" and telling Ruth that they're not ogres. They may not literally be ogres, but if any metaphorical description of them is appropriate, that's probably it, and the prior scene of Lenny and Max fighting with each other cemented that fact. It is also ironic that Teddy perhaps ends up being more ogreish than all of them; his inability to fight for his wife is not "warm" or loving at all.
Ruth (irony)
Critic Penelope Prentice notes, "One of the larger dramatic ironies of the play is that this family, which contains and uncritically tolerates Lenny as a pimp, at the outset condemns Ruth, without evidence, as a 'slut' and a 'whore'." This is made even more ironic when considering that they are extremely pleased to welcome her as such by the end of the play.
Max and Lenny
It is ironic that Max and Lenny are so consumed with sex and Ruth's status as a whore, while they have issues with sex themselves. Max is the first to call a woman a slut/whore/tart/bitch, but is "sexless" and old. Lenny is a pimp and criticizes Ruth as a tease for not going all the way with Joey, but seems the least interested in her sexually. He may be impotent or homosexual or asexual; his kiss while dancing is more of a power move than one motivated by lust.
Jessie
It is ironic that Jessie occupies such a central role in the play, though she is dead and thus is obviously never seen onstage. It is also ironic that the characters do not seem to think she looms over them so large; Teddy remarks upon the structure of the house being unaffected when the wall came down because his mother was dead, but clearly the family is affected by her absence. Max often talks about her and sees Ruth in the same light; Sam fears for Ruth the way he feared for Jessie. The wholly masculine environment is aggressive and toxic; Jessie lived within it and was overtaken, and Ruth may have the same fate. She is thus powerful and powerless, just as Ruth may be.
