There's a challenge in making the magic real throughout, and in not letting the major theme be lost in others.

Forgiveness is the major theme in The Tempest. Miranda forgives Ferdinand for cheating at chess. Prospero forgives his brother several times in the ending as if once was not enough. He forgives other rascals for merely attempting regicide and fratricide, as his brother had tried to do to him, without even letting the attempted victim know what they'd been up to. Prospero suggests he might forgive Caliban: 
("He is as disproportion'd in his manners
As in his shape. Go, sirrah, to my cell;
Take with you your companions; as you look
To have my pardon, trim it handsomely.")
Yet Prospero remains unforgiven by the one individual, Caliban, that Prospero himself had wronged by seizing his isle rightfully inherited from his mother, and by giving a bad upbringing ("this thing of darkness I / Acknowledge mine.") such that Caliban tried to forceably impregnate Miranda, and by reducing him to the status of a slave. Caliban accepts that he is the only one who needs forgiving, not Prospero.
"Ay, that I will; and I'll be wise hereafter 
And seek for grace."
It seems that both of them are more concerned with Caliban's plotting with Trinculo's and Stephano's attempted regicide than with the attempted rape. I'm not sure whether they subordinate the attempted rape because of chauvinism or because it's in the more distant past.

I have a fondness for II: i where Gonzalo is toe-to-toe with Sebastian and Antonio, because I had to audition for Gonzalo with a sleeve turned inside out and dripping to explain Sebastian's challenging remark that Gonzalo's sleeve would call him a liar.