To Euripides, She Was Always The Woman

Medea is a play that has never been out of style, but directorial choices have varied, and on occasion playwrights have adapted the material to the current circumstances. A proletarian perspective on Medea is possible, but such an adaptation would be to Euripides as Anouilh to Sophocles; even less so, because Anouilh did not need to shift the focus from Antigone. The Nurse delivers the first speech on the subject of the foolish drama of the aristocrats; the Pedagogue advocates on the behalf of the children; and the Messenger, despite his fancy speech (which may be due as much to his job in addressing the melodrama of the those who rule as much as his own personality), has a rather common view of the world. 

Meanwhile the aristocrats put on a poor show. Aegeus is on the lower end of the IQ scale. Jason is not much smarter and does not learn from experience than angering a woman who would murder her own brother is a bad idea even if there is now an opportunity for gain. Creon and Glauce are generic placeholders for king and Corinthian progeny - Creon literally means 'one who has strength' and Glauce or Glaucus is a generic name for a princess, especially a Corinthian one such as Bellerophon. Anyone named Glaucus in Greek mythology either dies or is ultimately ruined and broken. Medea, meanwhile, seems trapped between two genres, the tragic and the epic, and rejects the possibility of breaking the cycle of abuse from which she has suffered. The only physical affection between two related aristocratic individuals results in the painful death of both. Medea's advice to Aegeus sets in motion the birth of Theseus, which ultimately leads to her later flight from Attica and the eventual death of Aegeus due to the black sails of Theseus' return.

In the current media environment, I would expect a book from the perspective of the Nurse and the Pedagogue; but mostly the Nurse, since women narrators seem to sell better.