I don't equalize for a specific type of program so much as for the room. Most of my work is punk rock concerts, but the same idea works for any live sound gig.
The first time a band has to sound-check with me, they think I'm out of my mind. I don't wait for feedback to happen and try to fix it. Instead, I intentionally cause feedback... during the sound check. After the show, they usually thank me - they could actually hear what they wanted from the monitors.
What I'm doing is finding the frequencies that the room itself reinforces, then notching those frequencies out with the graphic EQ.
I start with the EQ set flat, both for mains and for monitors, and set a good but fairly quiet main mix...
channel faders set to 0dB, submasters set to 0dB, main faders set to about -15 dB, monitor master knobs (my board has uncalibrated rotary knobs for monitors) just above 50%. I use the input gain knobs to set an initial level for each channel (faders are for tweaking relative levels to sweeten the basic mix as necessary), then use the channel-strip monitor sends (and requests from the musicians), to build good, but somewhat quiet, monitor mixes.
Then I'll start increasing the overall level on one of the monitor master knobs until it just barely starts to feed back. I'll make a best guess as to the frequency of the feedback and pull down the fader for that frequency on the graphic for that monitor mix. If that kills the feedback, I guessed right. If not, I put the fader back up and try the ones on each side of it, one at a time. If necessary, I keep spreading out from my original guess until I hit the one that stops the feedback.
Then I go back to the gain and push it up a little farther, until it starts feeding back at another frequency. Again I'll make a best guess, with the advantage that I know whether it's higher or lower than the one I just got done with. I repeat the procedure until I've got four or five frequencies notched out.
Then I go back to the first frequency and push it up, slowly, until it just barely starts to feed back, then pull it back down the tiniest fraction, until the feedback stops. Repeat for each frequency I notched out originally, then back the monitor master down by about 10%.
Then repeat the whole procedure for the next monitor mix (I can run up to four, but usually only do two... and that's often better than most of the bands I work with get from anybody else).
Finally I do the same with the main mix. By causing feedback during the sound check, I've found the frequencies where feedback is likely to occur and cut them down in the mix, both for the mains and the monitors. The result is that I can push the system, especially the monitors, a lot harder without causing feedback during the show. It works well enough I've actually had the occasional musician ask me to turn the monitors down - something you almost never hear a musician say.
While it may be time consuming at first, with practice you get to the point where your first guess at the feedback frequency is usually right and it goes pretty quickly. And not only is it louder, it sounds better, because you've compensated for the room accoustics.
John