If not possible to get closer, would the mk41s help cover instead of the mk4s? Thanks!
Somewhat. If not as much as one might wish.
The tl:dr-
Yes, supercards like mk41 can help from somewhat farther back if they are pointed directly at the source. But the farther back you go the less effective microphone pattern directionaly becomes with regards to focusing on a distant source.
The longer story-
As supercardioids, the 41s are less sensitive to sound arriving from far off-axis than the cardioid 4s. Seems obvious that would be a help when pointed at the PA and stage sources, and it can. The problem from farther back is that the indirect reverberant sound arriving from all directions becomes louder than the sound arriving directly from the PA and stage, and because of that the difference in pattern sensitivity no longer makes a much difference as it would from closer. Think of it this way- from closer, the sound arriving at the mics from the direction of the PA is strongly dominated by the direct sound from the PA, while the sound arriving from the back of the room is dominated by reverberant sound. In that case, a supercardioid pointed at the PA will pickup a smaller proportion of reverberant sound than a cardioid. Moving farther back, the direct sound dominates less and less in comparison to the reverberant sound even in a straight line to PA. Remember, the reverberant sound is arriving from all directions, including from the same direction as the PA and stage. Because of that, the choice of pattern to achieve "focus on the source", makes more of a difference when placed at a position close enough that the direct sound dominates sufficiently in that direction.
The distance from the sound source where the direct sound and reverberant indirect sound are equal in level is called the
critical distance. In professional recording, that is were a main pair of microphones are typically placed so as to achieve a good balance of direct and hall sound. Any close-mics need to be much closer than that. In non-PA amplified performances the critical distance varies with room size, but tends to be much closer than most tapers record from, unless recording from right up front at the stage-lip.
The use of PA amplification doesn't change that basic acoustic truth, however the directional nature of the PA pushes the critical distance much further out into the audience. That's one of the primary reasons for using a PA, other than achieving sufficient loudness and a good balance between the sources. And this is a large part of what makes amplified live concert taping different from non-PA amplified stuff such as classical music recording. Take for example when a PA-amplified band walks out at the end of the night and does an non-amplified acoustic tune at the front of the stage at the encore. From a close enough recording position it may sound great. From a distant position that might have been satisfactory when the band was playing through the PA, that acoustic tune is likey to sound overly distant, reverberant and far too quiet.
Moving farther and farther back, at some point the more natural sound of more open patterns may end up being a better choice, as most of the sound is diffuse and more open patterns do a better job with that, but it might also depend on any reflected sound (another form of direct sound) arriving from other directions. From way far back outdoors for instance, omnis often sound best.
[note- an additional complication to be aware of is the inherent low-frequency roll off of directional mics at at distance, which can serve to "reduce the apparent reverberant mud" in reverberant rooms. Supercards have more of that roll-off than cardioids, omnis have none. But this is a function of the inherent frequency response roll-off that comes along with the difference in pickup-pattern and not really related to the microphone's directional sensitivity in the room. You could achieve the same with a more open pattern if you EQ'd a similar roll off]