It's a bane of theater lighting.
The essential idea of most theater lighting is that you are establishing the same lighting angles for every spot on a stage which is both wide and deep. That is to say, if a man downstage right is lit with warm sunlight over his left shoulder, a woman upstage left should also be lit with warm sunlight over her left shoulder.
The way this is achieved, given the limitations of available lighting angles and the sheer size of lights, is to take dozens of directional lights, spaced by approximately the beam diameter as they hit the stage, and hung down the length of several battens so they all arrive at similar angles.
From the right perspective point, it looks like a whole bunch of overlapping ovals across the entire stage. Repeat this for every one of the lighting angles of your plot, whether it is a key-base-fill scheme or a "McCandless" 45-degree front, high side and back, or one of many other basic schemes.
(As an aside, when I am designing lights, the first thing that goes down on paper is what I call a rosette; a diagram of an arbitrary spot -- what we call a lighting Area -- with the angles and colors and type of fixtures that will define the look of objects lit within it).
Since the grid or electrics are not at infinity, only at the exact center of each area are lights actually parallel. Each cone of light expands, and overlaps somewhat. And even if you could achieve a perfect square edge between adjacent pools (we try, we do...especially when lighting a backdrop) an object anywhere within that shared space would have two shadows pointing in different directions, and they would move visibly as you crossed the field.
So we don't try to match shadows. We hang multiple lights from multiple directions and cancel the majority of the shadows both in that and with interobject reflection. By the time 300-odd lights have finished bouncing through a 40x60 foot space, what shadows remain are dim and fragmentary and unless you spend a lot of time looking at feet or the lower margin of set walls you won't be conscious of them.
When we WANT a shadow, we hang a single light. Full stop. End of line.
(Or, in some very specific cases, several lights placed as physically/optically close to each other as can be practically obtained. And the results thereof are usually not pretty).