Australian audiences in another Old Vic company, this time headed by Vivien Leigh, which appeared in the Far East, South America and Australia. In 1963 he choreographed his sixth work for The Royal Ballet, the short-lived and critically damned Elektra, with music by Malcolm Arnold and featuring Nadia Nerina, David Blair, Monica Mason and Derek Rencher. He also supervised a new production of Swan Lake for the company, with important new choreographic contributions from Ashton. In the same year he played Prince Tuan in the film 55 Days at Peking. In 1962 Peggy van Praagh, formerly of Sadler's Wells, launched a new company, the Australian Ballet, which, Sorely Walker writes, steadily gained ground as "a company full of lively young Australian talent, helped along by top-level international stars like Erik Bruhn, Rudolf Nureyev, and Sonia Arova." Van Praagh approached Helpmann to create a new work for the company and he suggested a story based around the native Australian lyrebird. He was keen to promote Australian talent, and recruited Sidney Nolan to design the costumes and scenery and Malcolm Williamson to compose the score. The work, titled The Display, was premiered at the Adelaide Festival in March 1964, with Kathleen Gorham in the leading role, to an enthusiastic reception. Back in London, Helpmann directed and choreographed the first British production of Lerner and Loewe's musical Camelot in 1964. He had been approached by its authors to play Merlin in the original Broadway production, but nothing came of the suggestion. For the London production he sought to recapture, more than the American production had done, the sprit of The Once and Future King, the book on which the show was based. The musical received tepid reviews, but Helpmann's production, with designs by John Truscott, was praised as a "dazzling" and "gorgeous spectacle"; the show ran for well over a year. The success of The Display led to Helpmann's appointment as co-director of the Australian Ballet in 1965. His biographer Christopher Sexton comments that Helpmann and van Praag "complemented each other with their different personalities and skills: she the pedagogue, teacher and administrator; he the restless 'jet-setting' star who spent six months of the year overseas and attracted international names to perform with the company". His ballets for the company during the rest of the 1960s were Yugen (1965); an expanded version of Elektra (1966) and Sun Music (1968). Helpmann made two more