With Northern Ireland's Health Minister, Edwin Poots, recently failing in his legal attempts to prevent the donation of blood by gay men and to ban adoption by civil partners, any play tackling the homophobia inspired by Christian fundamentalism is clearly addressing a vital topic in Northern Irish society. Yet while the issue is significant and contemporary, everything about Tinderbox’s production of David Ireland’s new play Summertime is old-fashioned. It's not just that it uses a wobbly box-set with scene changes in blackouts to indicate time passing. Nor is it even that the dramaturgy of Ireland's script feels like a formulaic response to a playwriting exercise. (Stability is disrupted by the arrival of a mysterious stranger, causing a rift between friends, a situation made worse by the scheming of a female figure. Resolution comes through an inevitable trauma and the outcome is the realisation by the central characters of what was blindingly obvious from the start.) No, the thing that is so regressive about this production is its assumption that if the issue is big enough it can transcend the need for stagecraft.