greasy joan & co., 2008

Sound designer Victoria Delorio combines electro-clash rhythms and Claudine Longet-like murmurings to set up a world of bumbling tensions.
Brian Kirst - Chicago Free Press

Lifeline Theatre, 2007

Victoria DeIorio's rousing music richly enhance this harrowing voyage.
Hedy Weiss - Chicago Sun-Times

Victoria Delorio's unsettling sound effects and primal music, whose wailing violins and frenzied flutes recall the island's unfortunate inhabitants.
Barbara Vitello - Daily Herald

Seanachai Theatre Company, 2007

Director Karen Kessler isn’t at a loss for ideas, including a stylized sequence that mixes clever, Keystone-Cops-style choreography with Victoria DeIorio’s sound design for a fresh, time-lapsed effect.
Web Behrens - Chicago Free Press

Likewise imposing order on the narrative sprawl is Victoria DeIorio’s deftly-selected sound design, encompassing an extended step-dance sequence ( choreographed by Karen Tarjan ) , a snippet of Ennio Morricone for the self-styled cowboy, and several versions of Lydia The Tattooed Lady.
Mary Shen Barnidge - Windy City Times

eclipse theatre co., 2007

The use of multi-dimensional R&B singers such as Bettye LaVette in the pre-show music for Eclipse Theatre Company’s 2 By Pearl’s perfectly sets up what’s to follow in this exceptional evening of theater.
Brian Kirst - Chicago Free Press

StageWorks Hudson & RTE, 2007

Victoria DeIorio's haunting sound design weaves the production together beautifully and unobtrusively.
Rebecca Daniels - Woodstock Times

The Next Theatre, 2007

But another refrain echoes through "Frozen," as eerie and impossible to ignore as Victoria Delorio's music.
Barbara Vitello - Daily Herald

...gripping incidental music.
Mary Shen Barnidge - Chicago Reader

The dramatic temperature of the physical staging relies on the often intense lighting by Diane D. Fairchild and the sound and music by Victoria DeIorio.
Dan Zeff - Copley News Service

eclipse theatre co., 2007

A well-chosen soundtrack by sound designer Victoria DeIorio complements the play's alternately boisterous and melancholy moods.
Albert Williams - Chicago Reader

Lifeline Theatre, 2006

Original music and sound design by the masterful Victoria DeIorio touches at classical phrasing and cinematic transitions in a delightful way. We are in no particular time and in every time in her beautiful soundscape.
Martha Wade Steketee - Aisle Say Chicago

Remy Bumppo Theatre Company, 2006

Victoria DeIorio turns us all into mush by mixing romantic ditties from two centuries in Tom Stoppard’s paean to love.
Mary Shen Barnidge - Windy CIty Times

Sound design by Victoria DeIorio is delightful as always, either exquisitely executing the specific requirements as laid out by Stoppard, or designing beautifully to augment and illustrate words and action that are tightly intertwined with textual musical allusions.
Martha Wade Steketee - Aisle Say Chicago

Steppenwolf Theatre @ The Duke, 2006

The actual rape of Pecola is also narrated rather than shown, which is both tasteful and chilling. Sound designer Victoria DeIorio's menacing underscoring and J.R. Lederle's moody lighting help considerably.
Dan Bacalzo - TheatreMania

NYC Fringe @ The Connelly, 2006

In Victoria DeIorio’s sound design, the music helpfully comments on the action.
Laura Shea - American Theatre Web

Eclipse Theatre co., 2006

Victoria DeIorio’s excellent original piano music ( played by Christopher Walz ) establishes mood and tone via deconstructed variations on Take Me Out to the Ball Game.
Jonathan Abarbanel - Windy City Times

The Next Theatre, 2005

... and composer Victoria DeIorio's deconstructed cowboy music is brilliant.
-Hedy Weiss - Chicago SunTimes

Sound designer/composer Victoria DeIorio introduces us to our cast with a twanging, country guitar accompanied by symphonic stringed instruments, a blend of two contrasting sounds that seems coerced.
Brian Murphy - Evanston Round Table

The Next production, directed by Karen Kessler, features nicely woozy musical interludes composed by Victoria DeIorio.
Robert Loerzel - Pioneer Press

Steppenwolf Theatre, 2005

…will almost make you wish you could take your shoes off and go for a walk along the shore and the sound by Victoria DeIorio and lighting by J.R. Lederle complete that portion of the picture.

Al Bresloff - SalsaChicago.com

Griffin Theatre, 2005

Creating the prerequisite fantasyland, with all its magic and fantastical creatures, is always a challenge, especially on a small budget... and sound designer Victoria DeIorio is more than up to the task.
Mary Houlihan - Chicago SunTimes

With Victoria DeIorio's sound and Kevin D. Gawley's lights, there's no doubt that, as the theater lights go down, you've entered into an otherworldly dimension where all things are possible.
Betty Mohr - Daily Southtown Theater Critic

Lifeline Theatre, 2005

The big star of the show is behind the scenes: Victoria DeIorio, who adds so much to the mood with her music and, especially, her sound design.
Web Behrens - Chicago Free Press

The Next Theatre, 2004

...and especially striking sound by Victoria DeIorio.
Hedy Weiss - Chicago Sun-Times

And let's not forget the great work of respective set and sound designers Matthew J. York and Victoria DeIorio who both visually and audibly underpin the play's sinister and recriminating aspects.
Scott C. Morgan - Windy City Times

Lifeline Theatre, 2004

...Victoria DeIorio's right-on sound design.
Jeff Rossen - Gay Chicago Magazine

Northlight Theatre, 2004

...deserves applause; so do Victoria DeIorio's haunting and subtle sound effects.
Hedy Weiss - Chicago Sun Times

Reverie Theatre, 2004

Helen enters in the manner of a Gower Champion musical number, complete with a line of chorus boys, incongruously accompanied by Victoria DeIorio's synthesizer-based New Age-elegant incidental music.
Mary Shen Barnidge