The Last Syllable

BPAL is proud to contribute to the sensory experience of the last syllable, ISCLA’s interactive, online adaptation of Macbeth — an experiential event that invites you into a world where nothing is but what is not, in which five mysterious maps guide your journey through a theatrical landscape.

These two perfume blends have been crafted as a pathway toward deepening the viewer’s experience and forging a connection between personal memory and the moments captured on-screen. (They also may simply be worn and enjoyed as personal fragrance.) More details on incorporating these scents into your exploration of the last syllable will be forthcoming closer to its fall 2021 release.

Further updates about the last syllable will appear on ISCLA’s website. In the meantime, you may register for the experience here.

If you’re interested in perusing the other products we’ve created to raise funds for Independent Shakespeare Co., those can be found elsewhere on our site.

  • ‘Tis Strange Perfume Oil

    “Macbeth ruled during a time when the old gods were not yet forgotten. Almost no one could read and their memories and stories reached back into the deepest shadows.

    When the imagination stretches backwards as well as forwards it creates a sort of slide, or ladder. Like the children’s game! Time is much thicker. There is a substance about it that allows beings to gain purchase.”

    Both bog and castle, moor and battlefield, chivalry and nightmare: scarred leather armor, moss-covered stone, shadows upon shadows, and billows of black incense.

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  • The Last Syllable Perfume Oil

    INT.- THE STUDY – NIGHT.
    The artist is at work at her desk. In front of her is a wall,
    pinned with papers, photos, maps, lists. To her left is a
    window. It is dark.

    In front of her, her desk is piled high, with an assemblage
    of papers, odd pieces of string, a mirror, a doll. A singed
    straw figure. A 1970’s tape recorder. A destroyed cassette
    tape. And more.

    The artist picks up a magnifying glass from the pile. She
    leans to examine the objects in detail.

    We shift to a close up that moves through the objects, and
    everything feels new under such examination. It is as though
    we are in the landscape of her imagination.

    Photos pinned to cool plaster walls, discarded papers, a web of strings, a mirror, a doll, singed straw, scattered books, and unfurled magnetic tape.

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