In April 1934 de Valois created a new ballet, "The Haunted Ballroom", with Helpmann and Alicia Markova in the leading roles. "The Times" commented that of the soloists Helpmann "had the greatest opportunities, and made fine use of them". He co-starred with Markova in "Swan Lake", danced in operas, and appeared at the Open Air Theatre, Regent's Park. In 1935 he was leading dancer in the revue "Stop Press", with music by Irving Berlin. At Sadler's Wells he danced the principal role in another new de Valois ballet, "The Rake's Progress", and in 1936 Frederick Ashton choreographed a highly romantic ballet, "Apparitions", to music by Liszt, featuring Helpmann and the teenaged Margot Fonteyn. Sorley Walker writes that he and Fonteyn were a "perfectly matched partnership", exemplified by "their superb rendering of the Aurora pas de deux in "The Sleeping Beauty"". As well as romantic leading roles, Helpmann became known for his gift for comedy. Sorley Walker singles out his roles in "Coppélia", Ashton's "A Wedding Bouquet" and de Valois's "The Prospect Before Us". Character roles included the doddery Red King in de Valois' "Checkmate", which he first danced at the age of 28 and last danced in 1986 when he was 77.