Nice opportunity. Depends..
In general I'd set things up so that each separately recorded element focuses on contributing something the others aren't focused on and may only contribute in a secondary way or not at all.
You have all the soundboard options you want, so I'd not waste a stereo mic pair focused on the PA, even though its the typical taper starting point. Wide omnis or subcards at the soundboard will provide audience and ambience the SBD lacks, but so can mics on stage facing the audience and the energy and enthusiasm up close will be far greater and more involving.
I'd probably forgo mics back at the board and place both pairs on-stage near the stage-lip. One picking up band on stage, the other facing out into the audience. Along with the board feed, that combination should stand wobble free and solid like a three legged stool, each contributing something complementary to the gumbo.
If the audience is up close to the stage, good to use a spaced configuration for the audience facing mics to help avoid highlighting specific audience members near the mic position. Directional is good in reducing pickup of PA and stage sound, but not good if highlighting specific audience members.
Good to arrange things so as to sort of keep the audience out of the stage pair, stage out of the audience pair, and PA out of both (SBD = PA).
But that said, it would make sense to run wide omnis at the stagelip to provide nicely decorellated up-front engaged audience reaction, venue ambience, and solid bottom (watch out for overwhelming subs though) as well as some on stage "air", along with the mk41's center stage near-spaced or x/y capturing phase-coherent on-stage imaging and depth details. That good old spaced omnis plus directional center pair one-two punch thing again. Vox clarity will need to come from the SBD, but that's what SBD is really good at.