If you are running figure 8's try the falukner array spaced 20 cm facing stage parallel.
And they don't have to be parallel. When interviewers have brought up that particular mic config in several interviews I've read/watched, Mr. Faulkner usually laughs it off as a specific configuration, saying that he came up with that on the spot, primarily to avoid overbearing reflections off the hard stone side-walls of a long narrow church in which he found was recording, and subsequently mentioned it somewhere as an example of not relying solely on standard mic configs. The irony is that it subsequently had his name placed on it and people considered it a standard config
of his. In reality he choose a parallel arrangement of 8's so as to have the mic nulls facing sideways to limit sensitivity to the far sides as much as possible, and the spacing he ended up with was just what happened to worked best in that particular situation.
Typical near-spaced configs with fig-8's can work nicely and are probably more appropriate most of the time. Just use a somewhat less angle between the mics than you would for cardioids or supercards at the same mic spacing. I made a thread here sometime last year about this once I realized that in situations where the rear-facing lobes aren't a liability, fig-8s should be rather advantageous for PAS. That's because typical PAS setups don't usually end up with very much angle between the mics, and the tight fig-8 pattern lets those narrow angles work without requiring as much spacing between the mics as is needed with wider pickup patterns. That could be a big advantage when limited to using a standard mic bar which isn't very wide, plus you get some of that Blumlien like sound quality goodness.