A beautiful plant that creeps onto and strangles the tree it lives on in the garden of rich eccentric Edward Kimberly gives title to Pauline Macaulay's 1965 (but not dated) play, The Creeper, and symbolizes its action. Though an admitted "old Queen," Edward hires young men simply as companions. Extravagantly fed, clothed, entertained, housed, but not well paid, they become dependent on him while at his beck and call.
After six months of indulgence yet boredom, self-centered Michael, rightly played on edge by Alan Cox, has announced he's leaving. As he tries to welch on a bargain, he's thrown out and replaced by shy, unstylish Maurice Morris (intense Oliver Dimsdale). Not all he seems or admits to in his employment interview, Maurice nevertheless grows on Edward, who becomes friend, mentor, father to him. (Their fathers decisively shaped each man's life.) When Michael returns in an attempt to recover his old place, Edward rejects him but charitably gives him a small check. No sooner does Edward leave than Michael threatens Maurice with what he's found out and can tell about his background. Maurice's reaction is the dramatic tipping point.
A good old-fashioned drama with literate dialogue that forwards the action, The Creeper makes a splendid vehicle for suave Ian Richardson. He seems comfortably at home in the gorgeous drawing room designed by Hayden Griffin. Harry Towb ably supports Richardson as his/Edward's old family manservant, Holmes. An inspector calls fittingly in the person of Robert Styles. Everything and everyone add up to fine entertainment.
