Coriolanus throws his lot in with his former enemies, the Volsci, and leads them in turn to military success against his home city. He appears implacable in his new allegiance, until his family again appear and persuade him to work for peace instead. He returns to Antium, the Volsci capital, with a peace treaty; the Volsci general Aufidius, unimpressed by this latest shift of allegiance, has him killed on the spot, and the play ends.
Coriolanus is not a very likeable hero, and unlike some of Shakespeare's other problematic heroes, there's not a lot of mystery or suspense about his actions. He is arrogant and proud, and prefers fighting battles to fighting elections. At the same time he is a sucker for the wishes of his wife and mother, who talk him into politics in the first place, and then talk him out of attacking Rome at the end. An inspired director and actor could no doubt make something memorable of it, but it's tough material to work with.
Shakespeare doesn't seem to be a big fan of electoral democracy. The voters are shown as fickle, agreeing with the person who last shouted at them, easily manipulated by Coriolanus' enemies, who have deliberately set him up for failure, humiliation and exile (and then get their just deserts in terms of military disaster and civil chaos). Coriolanus however is not a good man struggling with an evil system; he is a vain man who is easily outmanœuvred by the leaders of the democratc faction.
The most interesting of the other characters are Aufidius, the Volscian general, Menenius, Coriolanus' friend in Rome, and Volumnia, his mother. Arkangel has decently solid performances in all four main parts (Paul Jesson, Martin Marquez, Ewan Hooper, Marjorie Yates). Clive Brill, the director, has had a good idea for the soundscape which doesn't quite work: the Volsci are Yorkshiremen, and the incidental music is therefore all in colliery brass band style. The resonances would have been better if Rome had sounded musically distinct from the Volscian territories; also I think the Westminster/Yorkshire split is a poor parallel for the Roman/Volscian of the story - English/Welsh might have been better. (And the minor characters have accents from all over the place: Aufidius has two very camp servants, one from the Home Counties and the other from Scotland.) He's limited, of course, by the audio format: on the stage you could have a dozen different ways of distinguishing between them visually, and let them talk however they liked.
I shouldn't complain too much. Apart from Troilus and Cressida, the last dozen or so plays have been pretty solid. (Though I understand there are a couple more duds on the list.)
Henry VI, Part I | Henry VI, Part II | Henry VI, Part III | Richard III | Comedy of Errors | Titus Andronicus | Taming of the Shrew | Two Gentlemen of Verona | Love's Labour's Lost | Romeo and Juliet | Richard II | A Midsummer Night's Dream | King John | The Merchant of Venice | Henry IV, Part I | Henry IV, Part II | Henry V | Julius Caesar | Much Ado About Nothing | As You Like It | Merry Wives of Windsor | Hamlet | Twelfth Night | Troilus and Cressida | All's Well That Ends Well | Measure for Measure | Othello | King Lear | Macbeth | Antony and Cleopatra | Coriolanus | Timon of Athens | Pericles | Cymbeline | The Winter's Tale | The Tempest | Henry VIII | The Two Noble Kinsmen | Edward III | Sir Thomas More (fragment)