Theatre Sound Design
From Script to Transcendence

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

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

Remy Bumppo Theatre Company, 2011

Sound design by Victoria Delorio nicely increases the sense of impending doom.
Zach Freeman - New City Stage

Sound and music, composed by Victoria (toy) DeIorio, add a great deal to the mood of this tragic story about a family that's cursed."
Alan Bresloff - Around the Town Chicago

Composer and Sound Designer Victoria Deiorio lays down an appropriate score of menacing strings and ominous bass.
Alex Huntsberger - ChicagoPride.com

American Blues Theatre, 2011

Victoria Delorio’s soaring musical interludes, and the period costumes by Samantha C. Jones and Elizabeth Flauto, add authenticity to this play that still has the ring of truth.
Hedy Weiss - Chicago SunTimes

The technical design is likewise first-rate, but Victoria DeIorio's stirring sound design is worthy of special note.
Mary Shen Barnidge - Windy City Times

Peninsula Players, 2011

Heraldic music sets the opening tone. A brisk clip of sound announces scene changes.
Warren Gerds - Green Bay Press-Gazette

Indiana Repertory, 2011

Victoria DeIorio’s sound design make the audience participants in the story in unexpectedly funny ways. Victoria’s compositions and sound design also include a satisfyingly rich array of aural textures; if her sounds were fabrics, they would range from satin to tweed.
Hope Baugh - www.IndyTheatreHabit.com

Cleveland Playhouse, 2010

Composer Victoria Toy DeIorio’s delicious sound effects, from the sizzle of fried fish and howling Highlands wind to the kerplop of water under a bridge add to the fun, with her original melodramatic music thrown in for good measure.
Fran Heller - Cleveland Jewish News

Indeed, the quality, cleverness and timing of the lighting and sound are as instrumental in the manifestation of parody as anything the four performers bring to the stage. And in this production of The 39 Steps, they all work in perfect harmony to generate the illusion of utter chaos.
Bob Abelman, Cleveland News Herald

Florida Stage, 2010

With the expert sound design by Victoria DeIorio, the vocalists and band are a fine aural blend.
H. Erstein - Palm Beach Arts Paper

The superb sound design by Victoria DeIorio nicely balances the singers with Wheetman's band, boding well for future acoustics in the space.
Palm Beach Post

The first-rate sound bodes well for Florida Stage's future in the space, though much of it is probably due to the acoustic design of Victoria DeIorio
Palm Beach Arts Paper

Mary's Wedding, 2010

And while we’re on the subject of powerful women: Victoria Delorio became the first woman to win for sound design when her work on Rivendell’s Mary’s Wedding was singled out. Which is as maddening as it is marvelous. In 42 years, only one woman has designed award-worthy sound and only two woman have directed award-worthy musicals? Seriously? All respect to the abundance of award-winning testosterone but there’s something seriously wrong with this picture.
Catey Sullivan - Chicago Theatre Review Examiner

Remy Bumppo Theatre Company, 2010

Victoria DeIorio's sound design and J.R. Lederle's lighting add subtle but crafty details to this stark, heartfelt tale.
Kerry Reid - The Reader

Rivendell Theatre Ensemble, 2010

Victoria DeIorio’s sound design, a clever back-and-forth between the rainstorms of the couple’s courtship and the guns of the war that separated them, is marvelous.
Caitlin Montanye Parrish - Time Out Chicago

...superb sound score by Victoria DeIorio.
Hedy Weiss - Chicago SunTimes

‘Mary’s Wedding’ is also assisted immeasurably by Victoria Delorio’s potent sound design.
Brian Kirst-Chicago Free Press

Indiana Repertory, 2009

I also appreciated the lighting design by Lap Chi Chu and the sound design and musical compositions by Victoria DeIorio. Both evoke the haze and din of the ever-present war without overpowering the language or action of the play.
Hope Baugh - Indy Theatre Habit

Remy Bumppo Theatre Company, 2009

Add a dribble or two of Victoria DeIorio's Hitchcockian incidental music, and the results make for a riveting 75 minutes of tantalizing, deceptively commonplace, mystery.
Mary Shen Barnidge - Windy City Times

...Victoria DeIorio’s suitably spooky mood-setting sound and original music.
Dan Zeff

Milwaukee Chamber Theatre, 2008

The effective sound design created by Victoria Delorio evoked the spirit of Danny that still haunted the family.
Julie McHale - TimeOut Theater Critic

Lifeline Theatre, 2008

The wit of Robert Kauzlaric (adaptor and lyricist) and the melodies of Victoria DeIorio (composer, lyricist and sound designer) combine to present a story that’s fun, educational, and that uses just enough sophisticated ‘poop’ humor to keep children, as well as their adult chaperones, entertained.
The Urban Coaster

The collaborative efforts of Lifeline’s artistic ensemble members Robert Kauzlaric (Adaptation), Victoria DeIorio (Original Music) and Paul S. Holmquist (Director) have done a wonderful job bringing Peter Brown’s fanciful story of community co-operation to life. The story’s adapted dialogue blends nicely with the original music and lyrics of Victoria DeIorio, which were well sung by the entire ensemble. ...the harmonies and choral work is wonderful.
Robert Andersen - Chicago Stage Review

Lifeline Theatre, 2008

... light man John Sanchez and sound master Victoria DeIorio, conjure rollicking horse rides, rousing brawls, daredevil chases and a couple of "big kiss" scenes as if on a full film set.
Hedy Weiss - Chicago Sun Times

Like every good melodrama, "Zorro" comes with a manipulative score.
Barbara Vitello - Daily Herald

Podra afirmar que se trata de un espectaculo que salta de lo teatral a lo cinematografico debido a la pista sonora. La musica envuelve a la platea, la cual no es solo oda a manera de cortina musical sino tambien en vivo cuando el grupo de caballeros canta al compos de las cuerdas.
(I would argue that it is a show that jumps from the theatrical to the cinematic because the soundtrack. The music envelops the audience, which is not only heard by way of shade but also live music when the men's group can sing along with the strings.)
Por Elio Leturia Colaborador diario HOY

Sound designer Victoria DeIorio's often-subtle work adds to the ambience.
Web Behrens - Chicago Free Press

Second Sex @ The Bailiwick, 2008

Delorio’s cast makes strong enough choices to create real, breathing personalities out of underwritten characters. This is a play that could easily fall apart with actors who opt for the obvious, but all four women here craft nuanced performances. Delorio’s strong direction rescues the play from its indulgent tendencies.
Kris Vire - TimeOut Chicago

This charming and thought-provoking play was a pleasant surprise and a strong choice for a season opener displaying talent and thought in a simple, refined artistry.
Meghan Gillogly - SteadyStyle Chicago

Director Victoria DeIorio's well-designed production overcomes the script's flaws with complex, compelling, thoroughly credible characterizations.
Albert Williams - Reader

Best known for her excellent sound designs on stages across Chicago, Victoria DeIorio steps up as director here, leading a smart cast to deliver a show that remains enjoyable, even if Rebeck’s ending fails to convince.
Web Behrens - Chicago Free Press

I fell for it hard, and the Bailiwick production (a slumber party directed with verve by Victoria Delorio) is one of the better shows I’ve seen in the theater’s studio space.
Nina Metz - New City

Lifeline Theatre, 2008

Music and lyrics by Victoria DeIorio and Jane Baxter, this musicalization is packed with quirky, participatory songs that keep the little ones totally engaged.
William Scott - New City Chicago

But combined with an original, toe-tapping country-flavored score by Victoria DeIorio and Jane Baxter Miller and lots of kiddie friendly audience participation, Lifeline has still come up with a pleasant and delightful afternoon family excursion.
Joe Stead - Steadystyle Chicago

Milwaukee Shakespeare, 2008

Victoria Delorio’s sound design saturates every scene in atmosphere and punctuates almost every significant gesture (and offers a beautiful setting to Fear no more the heat of the sun).
Paul Kosidowski - Milwaukee Magazine

The play's use of special effects and magnificent sound captivated me.
Eric Jacobi - ericjacobi.com

eclipse theatre co., 2008

Superb sound design and musical direction of Victoria DeIorio (with a fiddler, harmonica player and mountain voices all part of the live mix) adding to a sense of authenticity.
Hedy Weiss - Chicago Sun-Times

Musical director Victoria DeIorio delivers a warm sound-text of Baptist hymns and country ballads.
Lawrence Bommer - Chicago Free Press

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