Digitaltec is right, but it's also completely different equipment where it comes to intent. A
Leko will provide directional spot specific lighting, the
Par while it will do some of that also provides flood lighting in doing so. Less focused than a
Leko, more focused than a
Fresnel. For theater, the
PAR can is normally for specific applications or resorted to second choice fixtures after the good ones are used. Not similar beams. A S-4
PAR with
wash lens has a 16x33 degree beam (out to 50%
intensity) and 30x50 degree
field angle (out to 10% which is the
wash effect of it.) That's also before
intensity of the beam or it's general
effect is concerned no matter what distance which is also a factor. In a
par it's normally hottest in the center and tapers in
intensity towards the edges. In a
Leko, it's normally balanced across the beam as with the
Fresnel thus why they are in general less useful.
Photometrics Handbook again or something you will find on the
ETC website. The beams just plain look different much less feel different. I recommend you
play with the lights before you finalize your design. Your Fresnels verses Lekos will be the
base two groups of lighting with the
Par fixture fitting somewhere between them as a barbaric
wash of light on the subject. The flood lamp is much more harsh than the similar beam from a
Fresnel, the spot is also much more harsh than that of a
beam projector. Overall, such fixtures do serve certain purposes but are for the bulk of
stage lighting, amongst second to choice fixtures for the standard look. Useful but not as much so in a general way to the primary lights.