As a tv cameraman (that means I almost never have time to use much lighting or appropriate gels) I'd say take a 3.600-3800 or even 4000 white balance (either you can set the 3.200 preset to a higher value on the camera directly, or use a mix of tungsten and fluorescent light for the white balance) and use un-geled tungsten lighting. It usually looks quite good (key lights are warm while the "back lights" are colder).
Of course it won't be coherent if other tungsten-lit scenes were shot with a 3200 white balance. However I find 3400-3800 white balances nicer anyways for most tungsten-lit scenes, it just looks warmer (in the daily tv business color correction is only applied when really necessary, so the cameraman has to do color grading on location with a creative white balance :D )
