Sideshow Theatre Company, 2018

Sound designer Victoria Deiorio and composers Coco Elysses and Melissa F. DuPrey weave together whale songs with the hypnotic percussion of three musicians (DuPrey, Elysses and Joyce Liza Rada Lindsey) that seem to ripple and float within the scrim.
Catey Sullivan - Chicago SunTimes

Long Wharf Theatre, 2018

Victoria Deiorio sound and original music are wondrous.
Sherry Shameer Cohen - BroadwayWorld

Remy Bumppo Theatre Company, 2017

Sandys’ staging contains a few anachronistic elements, particularly in Rachel Lambert’s cunning costumes and Victoria Deiorio’s music and sound design, which both take on increasingly contemporary accents in the second act.
Kerry Reid - Chicago Tribune

The lighting design by Andrew Meyer and the sound design and original music by Victoria Deiorio add quality components to the physical production.
Dan Zeff - Chicagoland Theatre Reviews

Firebrand Theatre, 2017

Applause, too, for the sensational musical direction of conductor/keyboardist Andra Velis Simon and sound design by Victoria Deiorio, and the all-female band (Stella Vie on bass, Nora Barton on cello and Courtney McNally on drums) that rocks it to the rafters in perfect synch with an axe attack.
Hedy Weiss, Chicago Sun-Times

Sound designer Victoria Deiorio makes the score clear and powerful, no small feat given the extremes in volume and the rip-roaring pace of many of the lyrics.
Catey Sullivan - Performink

As to sound, Victoria Deiorio had a challenge here and proved more than up to it. Each performer wears a head mic, using hand mics for concert-style prop work and some fun movement, but there are a lot of balance and mixing issues to deal with here as well as effects throughout the evening, and Deiorio is on top of it all.
Karen Topham - Chicago Onstage

Firebrand Theatre, 2017

The stunning lighting by Maya Michele Fein, so important in a small stage/concert style setting, is worthy of Jeff consideration. As is Victoria Deiorio`s impeccable sound design, no easy task for a show with this amount of musical variety. And of the music, Musical Director Andra Velis Simon and her on-stage band are simply terrific.
Barry Reszel - Chicago Musical Theatre

The lyrics are clearly-worded and clearly-delivered, helped by Deiorio`s beautifully balanced sound design.
Jonathan Abarbanel - Windy City Times

Teatro Vista/Victory Gardens, 2017

Sound by Victoria Deiorio is executed with reserve and poise, whether it be badly-written T.V., beautiful transition music, or the sound of a vacuum.
Lucas Garcia - Rescripted

The Court Theatre, 2017

And sound designer Victoria Deiorio makes everything sound grand.
Catey Sullivan - Chicago Theatre Beat

American Players Theatre, 2017

Even Victoria Deiorio�s sound design, primarily a white-noise hum, supports the suggestion that the maids live the oppressive life of prisoners.
Michael Muckian - Wisconsin Gazette

Cleveland Play House, 2017

These on-stage antics are perfectly accentuated by sound and music designer Victoria Deiorio’s melodramatic underscoring.
Bob Abelman - The News Herald

Timothy R. Mackabee’s scenic design, Lex Liang’s costumes, Peter Maradudin’s lighting, and Victoria Deiorio’s original music and sound design all helped to create the right aesthetic images.
Roy Berko - Cool Cleveland

Timeline Theatre, 2016

Mike Durst’s lighting works to perfection and the original music and sound by Victoria Deiorio is divine.
Alan Bresloff - Around the Town Chicago

Hartford Stage, 2016

Sound design by Victoria Deiorio included some very believable artillery fire and explosions that made me jump out of my seat.
Tara Kennedy - onstageblog.com

Milwaukee Repertory, 2016

Victoria Deiorio’s sound design periodically underscores the analogous disconnect between Holiday and the world, driving home Holiday’s sense of isolation by suggesting a silent, shrouded place far beyond the din of the nightclub where she performs. Lost in her own private hell, this Holiday is losing touch with what’s going on around her as she moves toward the eternal night that would soon claim her. It’s both eerie and effective.
Mike Fischer - Milwaukee Journal Sentinel

CATF, 2016

Victoria Deiorio provides a wonderfully subtle soundscape, from snatches of folk music to the discreet tick-tock of the grandfather clock down the hall.
Andrew White - MD Theatre Guide

CATF, 2016

The actors perform barefoot in this ankle-deep sea, introducing a tactile dimension to the action. And the dynamics of the sail overhead - in fair and foul weather - coupled with Victoria Deiorio’s ingenious sound design create an overwhelming sensory experience.
Andrew White - MD Theatre Guide

Kris Stone’s set for pen/man/ship was a marvel: a water-filled cabin with deck, with mainsail billowing above. Such visual splendor yearns for a journey. Tony Galaska’s lights and Trevor Bowen’s costumes added to that sense of transatlantic travel. Victoria Deiorio’s original music and sound, however, elevated that travel to mythic proportions.
Robert Michael Oliver - DC Metro Theater Arts

The Court Theatre, 2016

Jack Magaw's design has the look and feel of a true summer house, down to every detail. And Melissa Torchia's ornate costumes beautifully evoke the play's 1912 setting. Victoria Deiorio's sound design adds to the production's uneasy feeling.
Rachel Weinberg - BroadwayWorld.com

Deiorio’s sound design makes a dirge of that all-important foghorn. And with a hint of crying gulls, she evokes the drowning expanse of ocean mere steps from the Tyrones’ house.
Catey Sullivan - Chicago Theatre Beat

Indiana Repertory Theatre, 2015

Completing the illusion of stepping back in time to the roaring 20’s was the score created by composer and sound designer Victoria Deiorio, who combined elements of both jazz and modernistic music that drive the play’s action.
Tom Alvarez - Indianapolis Performing Arts Examiner

Starting with Peter Armster’s precise direction of his splendid cast - the production offers a detailed telling of the story, with beautiful and imaginative stagecraft by Lee Savage, Katherine Freer, and their crews; glorious costumes by Tracy Dorman and her assistants; and amazing lighting and sound by Thomas C. Hase and Victoria Deiorio, respectively.
Ken Klingenmeier - A Seat on the Aisle

American Players Theatre, 2015

Designers Yu Shibagaki (sets), Jesse Klug (lighting) and Victoria Deiorio (sound) turn the Touchstone stage into a forbidding place for The Island, dimly yet harshly lit and pierced by sirens.
Lindsay Christians - The Capital Times

Sound designer Victoria Deiorio has the sound of unseen waves crashing on the islands shore usher out each scene.They ought to sound soothing, but to John and Winston, theyre like the soft drumbeat of a freedom thats permanently out of reach.
Aaron Conklin - Madison Magazine

Irish Theatre of Chicago, 2015

Victoria Deiorio’s sound design and original music is stormy enough to make you reach for a life raft.
Hedy Weiss - Chicago SunTimes

The sound design, too, was great. Victoria Deiorio created sounds which were absolutely haunting to hear as the ship was crushed, and helped give indication as to where in the world parts of the play were at (classical guitar music played as Shackleton and others were in Uruguay, for instance).
Chicagostagestandard

Smooch Medina's scenic projections and Victoria DeIorio's score of Alfred Newman-tinged incidental music create a suitably swashbuckling ambience.
Mary Shen Barnidge - Windy City Times

With strong direction and solid acting in place, the third part of this successful production is the design of the show. I also loved the original music and sound design.
Lazlo Collins - Chicago Theatre Review

Teatro Vista, 2015

The set and sound, designed by Jose Manuel Diaz-Soto and Victoria Deiorio, respectively, further pulls the audience into every scene.
Mary Kroeck - New City

Sound design by Victoria Deiorio creates an authentic sound landscape for the story.
Nancy Bishop - Gapers Block

The mise en scene is beautifully done, transporting the audience to the dozy town of Zapata.
Hector Luis Alamo - gozamos.com

Remy Bumppo, 2015

Victoria DeIorios score of atmospheric and punctuative music keeps us oriented within Carrs befuddled chronology.
Mary Shen Barnidge - Windy City Times

Victoria Deiorio and lighting designer Andrews Meyers insert explosions to accompany references to the war, some of which are quite jarring, and drive home that this isn’t all fun and games.
Jacob Davis - Chicago Critic

The technical aspects of this show fit my earlier statement about ensemble piece as well. Each part of it works to make this the theatrical experience that it is.
Alan Bresloff - Around the Town Chicago

Their polite conversation turned cat fight is conducted in a limerick style set to music. The smart shtick with plenty of Cecily, oh Cecily and Gwendolen, oh Gwendolen continues to play in my head long after curtain.
Katey Walsh - The Fourth Walsh