'' . . . the main question of the play is not the relationship between the man and the woman, but the kind of revenge Medea will take for the offence she has suffered. In her case the revenge is much more severe and cruel than the offence. She wishes to make it so disastrous, overwhelming and devastating that it should be a lesson for everybody. So this is what we tried to penetrate into, and we were trying to find the points where this way of thinking seems insane or, on the contrary, very healthy; which are the moments when Medea sees clearly what she does and gets frightened from herself, and which are the moments when she falls back into her desperate passion. And she does also this with deep insight. Therefore, Medea is above all the other characters in this play. . .'' Gabor Zsambeki