The basic X/Y, DIN, ORTF, NOS configurations are starting points. I personally think it's a good idea to try them all with your mics at one time or another to get an idea of how each one sounds with your microphones.
Generally, the further the spread between the microphone caps, the more "air" you will have in your recording. I have found that wide spacing can sometimes give you a "dull" sound. X/Y, coincident, sounds "truer", to me but with less channel separation than the near coincident techniques. Again, these are generalizations.
You are right, that using the basic coincident and near coincident techniques from a distance, your microphones will be pointed outside of the actual stage area. Maybe at the walls. So, I think it's best to get closer with cardioids. Hyper-cardioids will bring the sound closer using the same technique, so many tapers section recordists use hyper-cardioid capsules in the OTS.
My advice is to go out and start doing it. Try different things. Many recordists aim their microphones at the stacks, many use the standard patterns... To me there is no right or wrong. Use what sounds good to you with your equipment and the venues you record in. Sometimes you will make a bad recording... That's how you learn. When I used to ski I figured if I didn't fall a few times I wasn't learning anyhthing... YMMV
Against common wisdom, I plan to try using cardioids and hyper-cardioids baffled at Red Rocks this weekend. Why? I've never done it and want to hear what it sounds like...