The first reply had it down close, but let me clue you in a little better.
Kick: get a kick mic like an AKG D-112 (lots of attack) or a
Shure 52 (lots of body) and get it inside the kick if you can. The closer to the beater the more attack (smack or click) the closer to the front head, the fuller the sound. P.S. You can get away with a regular
dynamic mic like an SM-57 or 58 (actually the same capsule in a different case).
Snare: Just use a
Shure SM-57, it's the industry standard. If your finger was the mic it would be just over the rim (first
knuckle) and pointing roughly at the center of the drum. Try to aim it away from the floor toms if possible.
Toms: More 57s if you got em, Senheiser 421s are good. There's also lots of cool little clip on mics that get good sounds. Where you
point them depends on if you want more body or attack and depends even more on the tone of the drum itself. You can change it a lot just by moving the mic and leaving the EQ alone.
Overhead: You can actually skip the snare and tom mics if you have a properly positioned overhead. In the studio I've gotten a really good sound out of just a kick mic and an SM-57 overhead. To position it, think of your finger again, more or less directly over the toms (maybe a little toward the player) about 2 to 3 feet up and pointing right in between the rack toms (the small ones).
A lot of people will tell you that a
condenser mic is best for overheads and they'd be right if it was a rock show or studio. But in your case when you're just trying to fill out something from the pit, less is more...
way more. A
condenser mic will give you a truer sound, but will also tend to
pick up the brass and whatever else is close by. There's
feedback issues as well. A 57 in the air isn't going to be as sensitive, or give you big boomy toms, but it will
pick up the transients and help blanket the attack of the hits and the sizzle of the cymbals across the room.
And last but not least, for a theater application it wouldn't hurt to buss whatever drum mics you do come up with and insert a
comp/
gate on the subgroup. Try somewhere a little heavier than 2:1 with a fast attack and
release, hard knee and just
roll the
threshold down till you're getting 3 to 6 dB reduction, compensate by turning up the output a little and you're there. You'll loose just a little
bit of punch but will have much more control over the group. Then
gate down as much as you can to keep the rest of the pit from bleeding in.