Most lighting designers are taught the basics of subractive color mixing early on: in light, certain colors cancel each other out rather than adding to each other like paint. Basic lighting theory suggests using two pale opposites on the color wheel, such as amber and lavender, for face light. These colors mix to create a light that appears white, yet the shadows are colored in amber and lavender, adding visual interest and depth. For dramatic lighting, try using this technique with more saturated colors. Red and green mix to form a yellow light, with deep red or green shadows where the subject blocks light from one angle but not the other. Orange and purple can create a nearly white light, yet the shadows left are deep and mysterious because of the colors. Aiming the lights at the actors from wider angles to each side will increase the amount of shadows the saturated (deep and vibrant) colors will fill in.
Lighting performers primarily from the sides as a popular technique in dance, but because of the shadows it can cause, it is less popular in dramatic performances. However, if you have a particular scene that should seem sultry or mysterious, use lighting from low angles at the sides as your primary light source. This shapes the performer's bodies by causing their own curves to create highlights and shadows. Combined with deep, warm colors, this creates a sultry feel for seduction scenes.
If you have a sharkstooth scrim at your disposal, it can be a great asset for using lighting to dramatically reveal a scene. Sharkstooth scrims are made from a fine material that can appear opaque when lit from the front, yet becomes nearly transparent when lit from behind. Set up a scene in front of the scrim and light it well from the front. You can even use projected patterns (gobos) to create scenery on the scrim. When it's time for the scene change, bring up the lights behind the scrim and reduce any lights that directly shine onto the scrim from the front (you can still light the area in front of the scrim, as long as the material itself isn't lit. The audience will see through what appeared to be a solid wall before.