I always tend to find the romances the most interesting, precisely for these reasons, although admittedly, they often require more than a little of Coleridge's "willing suspension of disbelief". (In 'Twelfth Night', a cross-dressing girl is taken by everyone to be a boy; in 'A Winter's Tale', a long-vanished woman reappears as a statue... )
'The Tempest' is no exception to the rule; the equivocal character of Prospero's personality is largely what adds dept to the play.
Furthermore, Stephen Orgel, the editor, writes excellent and informative introductions.
Skip this one at your own risk.