Irwin, May [née Ada May Campbell] (1862–1938), singer and comedienne. In 1899, when she was at the height of her fame, Lewis C. Strang, a popular writer on theatrical themes, observed, “May Irwin is a personality rather than an artist, an entertainer more than an actress. Her career has vacillated between the variety stage and the legitimate, until at last she has become identified with that hybrid species of the theatrical amusement called farce comedy. Miss Irwin is a famous fun‐maker; of jolly rotund figure, and with a face that reflects the gaiety of nations, she is the personification of humor and careless mirth, a female Falstaff.” The Canadian‐born blue‐eyed blonde made her professional debut with her sister, Flora, at a Buffalo vaudeville house in 1875. By the early 1880s she was a popular attraction at Tony Pastor's, appearing both in his olios and his versions of Gilbert and Sullivan favorites. Irwin left Pastor in 1883 to assume important supporting roles in Augustin Daly's great ensemble, four years later returning to vaudeville, then appearing in those prototypical musicals that were called farce‐comedies at the time. Stardom came in 1895 when she appeared in The Widow Jones and introduced “The Bully Song,” putting her in the forefront of what then were termed “coon shouters.” Subsequent hits, all of a similar nature, included Courted into Court (1896); The Swell Miss Fitzwell (1897); Kate Kip, Buyer (1898); Sister Mary (1899); Madge Smith, Attorney (1900); and Mrs. Black Is Back (1904). Thereafter, she alternated between vaudeville and musical plays, although her vogue had begun to wane. Her last Broadway assignment was in The 49ers (1922), then she retired after making an appearance in a 1925 “Old Timers' Week” at the Palace.



