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VictoriaSound Design

toy

VictoriaSound Design
Enhancing response through music and sound
 
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Victoria (toy) Deiorio
Combining her previous careers in acting and songwriting, Victoria Deiorio is a critically acclaimed sound designer and composer for theatre, based in Chicago.

Full Bio....



Press
Baskerville
Cleveland Play House, 2017
These on-stage antics are perfectly accentuated by sound and music designer Victoria Deiorio’s melodramatic underscoring.
Bob Abelman - Cleveland Jewish News

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

The Last Wife
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

Queens for a Year
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

Lady Day at Emerson's Bar and Grill
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

The Second Girl
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

Pen/man/ship
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

Long Days Journey Into Night
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

The Great Gatsby
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

Women's Wonder Weekend
Spring Green, WI, 2015
Thank you for sharing the story of your journey with all of us. You woo-ed us and wow-ed us and pushed us out of our comfort zones into new space and greater possibility. I liked it very much.
Robin Reid

The Island
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

White Road
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

Between You, Me and the Lampshade
Teatro Vista, 2015
The set and sound, designed by José Manuel Díaz-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 scène is beautifully done, transporting the audience to the dozy town of Zapata.
Hector Luis Alamo - gozamos.com

Travesties
Remy Bumppo, 2015
Victoria DeIorio's score of atmospheric and punctuative music keeps us oriented within Carr's 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

The Amish Project
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

Amadeus
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

The Year of Magical Thinking
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

A Christmas Carol
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 Mountaintop
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

The Liquid Plain
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

Woman in Mind
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

Mud Blue Sky
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

The Mountaintop
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

Moby Dick
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

Seascape
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

Skin Tight
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

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

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

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

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

[title of show]
Northlight Theatre, 2012
Victoria DeIorio’s sound is perfect as we hear every word.
Alan Bresloff - aroundthetownchicago.com

RENT
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

Falling: A Wake
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

39 Steps
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


Mourning Becomes Electra
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

Waiting for Lefty
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

A Few Good Men
Peninsula Players, 2011
Heraldic music sets the opening tone. A brisk clip of sound announces scene changes.
Warren Gerds - Green Bay Press-Gazette

The 39 Steps
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

The 39 Steps
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

Low Down Dirty Blues
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

Joseph Jefferson Award
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

The Island
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

Mary's Wedding
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

The Heavens are Hung in Black
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

Old Times
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

Rabbit Hole
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

Flight of the Dodo
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

The Mark of Zorro
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

Podría afirmar que se trata de un espectáculo que salta de lo teatral a lo cinematográfico debido a la pista sonora. La música envuelve a la platea, la cual no es sólo oída a manera de cortina musical sino también en vivo cuando el grupo de caballeros canta al compás 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

Sunday on the Rocks
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

Dirty Cowboy
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

Cymbeline
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 o’ the sun”).
Paul Kosidowski - Milwaukee Magazine

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

Candles to the Sun
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

The Misanthrope
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

Island of Dr. Moreau
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

War
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

2 by Pearl
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” perfectly sets up what’s to follow in this exceptional evening of theater.
Brian Kirst - Chicago Free Press

Elliott, A Soldier's Fugue
StageWorks Hudson & RTE, 2007
Victoria DeIorio's haunting sound design weaves the production together beautifully and unobtrusively.
Rebecca Daniels - Woodstock Times

Frozen
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

Blues for an Alabama Sky
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

Velveteen Rabbit
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

The Real Thing
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

The Bluest Eye
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

Ophelia
NYC Fringe @ The Connelly, 2006
In Victoria DeIorio’s sound design, the music helpfully comments on the action.
Laura Shea - American Theatre Web

The Sweetest Swing in Baseball
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

God of Hell
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

Pacific
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

Stardust
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

Sirens of Titan
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

Omnium Gatherum
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

A Long Way From Chicago
Lifeline Theatre, 2004
...Victoria DeIorio's right-on sound design.
Jeff Rossen - Gay Chicago Magazine

Blue Orange
Northlight Theatre, 2004
...deserves applause; so do Victoria DeIorio's haunting and subtle sound effects.
Hedy Weiss - Chicago Sun Times

All's Well That Ends Well
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

Alarums and Excursions
Cobalt Theatre Company, 2001
But the real star of the show is Sound Designer Victoria DeIorio's precision-timed collection of electronic chirps, whistles, howls, buzzes and robot-voices that constitute a presence all on their own.
Mary Shen Barnidge



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