Milwaukee Repertory, 2015

Hoffmann is becoming a sizzling director, and with Staples, haunting music by Victoria Deiorio and story-telling lighting by Jason Fassl, this is a production that will live with you for a long time.
Dave Begel - OnMilwaukee.com

Director Leda Hoffmann blocking and pacing deserve credit for ensuring that some of the more nuanced character transitions work so well, and they are vital to the production’s success. So too is the haunting background music by Victoria Deiorio and Jason Fassl's moody lighting effects. Both assist with transitions and underscore the play’s emotional impact.
Louis Weisberg - Wisconsin Gazette

Center Stage, 2014

Sound designer Victoria Deiorio’s perfectly timed integration of Mozart’s music is the icing on the cake.
Lynne Menefee - MD Theatre Guide

Sound designer Victoria Deiorio has the essential musical snippets falling neatly into place.
Tim Smith - The Baltimore Sun

The evening is also aided by the clever lighting by Michelle Habeck and the great sound by Victoria Deiorio.
Charles Shubow - broadwayworld.com

American Players Theatre, 2014

Victoria Deiorio’s original music is played so faintly that at first it sounds as though it’s coming from somewhere else, a reflection perhaps of Didion’s fading memory. Such subtle touches enrich the production.
Michael Muckian - Wisconsin Gazette

Theatre at St. Clements, 2013

Chris Lee's lighting and sound design by Victoria Deiorio emphasize the terror of the ghosts (inappropriate for very young children) and spotlight London's holiday atmosphere.
Elizabeth Ahlfors - Curtain Up

Speaking of mood, along with director Joe Calarco and musical director Mary-Mitchell Campbell, lighting designer Chris Lee, sound designer Victoria Deiorio, and costume designer Anne Kennedy deserve accolades for creating the ideal Dickensian landscape, that juxtaposition of Christmas cheer and eerie winter coldness.
Brooke Pierce - Edge

The portrayal of the ghostly Jacob Marley and the frightening final spirit are both eerie, utilizing a combination of shadows, exaggerated lighting, and haunting sound design.
Juliana Adame - Broadway World

The sound design by Victoria DeIorio moves us inside the action at key moments.
Eric Grunin - TheatreScene.net

The Court Theatre, 2013

...and sound designer Victoria Delorio all have a field day in their design work, constantly finding surprising ways to wow the audience as the play progresses to its epic ending.
Scott C. Morgan - Windy City Times

Oregon Shakespeare Festival, 2013

The scenic team here includes lighting and projection/video designs by Christopher Akerlind and Alex Koch respectively, who, along with Chicago-based Sound Designer and Composer Victoria Deiorio, create for audiences a living, breathing, and constantly shifting ocean, beyond the horizon of the proscenium.
Sarah Woolf - Drama in the Hood

eclipse theatre company, 2013

Toy Deiorio’s sound recalls the gravity of Susan’s mental decline, lest we forget in our laughter.
Lauren Whalen - Chicago Theatre Beat

Center Stage, 2013

Victoria Deiorio creates impressive moments of large jets flying overhead, reminding the audience of our main character’s profession and how close they are at all times to their work.
Amanda Gunther - DC Metro Theatre Arts

Scott Zielinski and Sound Designer Victoria (Toy) Deiorio flawlessly pull off the task of transporting the audience within deafening earshot of Chicago’s busy O’Hare Airport.
Anthony C. Hayes - Baltimore Post Examiner

Center Stage, 2013

The design, too, draws the audience in, with a creatively ominous backlight (Scott Zielinski) and underscore (Victoria Delorio).
James Miller - MD Theatre Guide

Syracuse Stage, 2012

Theatrical magic makes this an extraordinarily attractive production.
James MacKillop - Syracuse New Times

Linda Buchanan’s dominating scenic design of the Pequod whaling ship, together with Thomas Hase’s lighting design and Victoria DeIorio’s sound design creates a piece wherein atmosphere almost trumps storyline and theme. Sitting in the Archbold Theater, especially during the storm sequence, is about as close to the sea as you’re going to get, short of a five-to-six-hour, southeast drive.

And as much as this staged Moby Dick relies on these visceral sights and sounds of the sea, the focus of the drama hasn’t changed from Melville’s whaling tome. At its heart, it remains a study of obsession and revenge, and how these dominating traits become man’s undoing.
Tony Curulla - Syracuse.com

Remy Bumppo Theatre Company, 2012

Victoria DeIorio creates the audio-astic sounds of a secluded resort area... waves lapping, seagulls squawking and planes motoring. The illusion makes me want to take off my shoes and wade in.
Katy Walsh - The Fourth Walsh

Northlight Theatre, 2012

Victoria DeIorio’s sound is perfect as we hear every word.
Alan Bresloff - aroundthetownchicago.com

COR theatre, 2012

Trust you are in the excellent hands of director Victoria Deiorio who makes every moment feel brilliantly authentic. Skin Tight, a new work by the new company Cor Theatre, is the most perfectly astounding piece of theater I have seen since Goodman's "The Iceman Cometh". I can't recommend it highly enough. It should extend, it should tour. It is scary, moving and touching. Go see it. You won't get a word about the plot out of me. Figure it out yourself. That is always half the fun. The floor is covered with wrestling mats. There is a bathtub, some apples, and a very sharp knife. Enough said.
David Zak - SteadstyleChicago.com

The violent sexual action is equally disturbing and fascinating because it is a love story. Within their passionate frenzies, Fowler and Bozzuto show complete trust. Their intimacy is shocking and endearing. Their response is primal and honest.
Katy Walsh - Chicago Theatre Beat

COR theatre, 2012

For me, this gem quite accurately reflects a single average day for a couple - its fights, lulls and rushes of passion - only with the theater’s harrowing urgency and perpetual threat.
Johnny Oleksinski - New City Stage

If the quality of acting and dedication are any indication, COR theatre has the potential to punch Chicago's theatre community square in the gut. I'm greatly looking forward to their next phase.
Bob Bullen - Chicago Theatre Addict

Skin Tight is one of those little gems that needs to be seen to be fully appreciated. It ekes out the power of live theatre magnificently. What a engrossing hour of theatre! I can’t imagine a finer off night show.
Tom Williams - Chicago Critic

COR theatre, 2012

Tony Bozzuto's and Tosha Fowler's performances deliver an infectious synergy, while Lindsay Jones' sound design maintains the environmental synchronicity associated with romanticism, elevating the mood to operatic levels despite the starkly minimal scenic ambience. Victoria Deiorio's direction seamlessly integrates the flow of physical spectacle and verbal revelation, allowing us nary a pause in our anticipation of the ending we know is inevitable. When it arrives, the catharsis can be felt throughout the whole room.
Mary Shen Barnidge - Windy City Times

She may as well be a surrogate for director Victoria Deiorio, manipulating and toying with her audience, forcing emotional presence with a gesture as sensually provocative as it is confrontational.
Dan Jakes - Time Out Chicago

COR theatre, 2012

Under Deiorio’s unflinching direction, with fierce fight choreography by Scott Cummins and Julia Neary, the fearless actors forge a mighty bond as a pair that has lived together for many years on a New Zealand farm, and endured jealousy, loneliness and a period of wartime separation.
Hedy Weiss - Chicago Sun Times

But it's the emotional wringer that they put themselves through before that baptismal coda that truly impresses.
Kerry Reid - Chicago Tribune

American Theater Company, 2012

A four-piece band under Timothy Splain's musical direction drives home the score's crunchy rhythms, yet the lyrics are always clear, and, though the singers are miked, their robust voices never sound amplified.
Albert Williams - Chicago Reader

Rivendell Theatre Ensemble, 2012

In Rivendell’s new black box theatre, a simulation of an airplane crash is a heart-pumping terror! The perfect acoustics ignite a ‘Diehard’ adrenaline rush. My spidey sense is on red alert and I’m ready for an action drama. But this show isn’t about dismemberment at a crash site. It’s not horror. It’s a love story. Director and Sound Designer Victoria DeIorio stages it first with intensity, and later authenticity. Under DeIorio’s direction, Jane Baxter Miller (Elsie) and Mark Ulrich (Harold) are so in sync it’s hard to believe they aren’t married. They finish each other’s sentences, give each other a hard time and worry more about the other one’s comfort. They are adorable.
Katy Walsh - Chicago Theater Beat

Rivendell Theatre Ensemble, 2012

Victoria DeIorio’s sound design makes excellent use of the theater’s booming sound system for the storm of debris, and she effectively uses audio to create an image that would be difficult to capture onstage.
Oliver Sava - Time Out Chicago

It's a bit like sticking a wounded elephant in a storefront and then asking the audience to listen to an hour-long speech from the house manager, while the elephant keeps his back to the audience.
Chris Jones - Chicago Tribune

Maltz Jupiter Theatre, 2011

With intricate crackling fire and endless timed sound effects. The appropriately chosen music from Sound Designer Victoria Deiorio, dramatic lighting, multipurpose sets, elegant costumes and wigs creatively bring all the elements together for "A Maltz Masterpiece." This production should be nominated for a few prestigious Florida Carbonell Awards for Sound Design, Direction and Best Ensemble for a play.
Richard Cameron - The Examiner, Jupiter FL

The show's design elements are all top-notch, from Tracy Dorman's breakaway costumes to Michael Lincoln's mercurial lighting to Victoria Deiorio's faux-Bernard Hermann music score.
Hap Erstein - PB Pulse