Something to bear in mind is that almost nobody who works on running crew is actually doing the job we pay them to do.
It's great that ushers tear tickets and hold the doors open and guide patrons to seats with their cute little flashlights, but the ushers are really there so that, if the theatre has to be evacuated, people don't die in the aisles
It's great that the stagehands move scenery and hold doors open and help move things around, but they're really there so that, if there's a fire, there's someone backstage who knows where the fire extinguishers are, which extinguisher to grab (electrical fire? material fire?), and how to use the thing.
It's great that the board operators follow cues and improvise appropriately, but they're really there so that, when something goes Horribly Horribly Horribly Wrong and the stage manager is flouncing around trying to do a bajillion things at once, the theatre isn't left in total darkness for several minutes and we can get a god mic running sooner rather than later.
And it's great that the stage manager calls the show--but if that's all we needed stage managers to do, you could easily replace them with a MIDI track or just have the board operators do their own cues. The SM's real purpose is to react and respond to emergencies and unexpected situations. That's why someone working at the high end of stage management can make upwards of 60-80k a year for doing a job that college students can do perfectly competently without even expecting a salary: the experienced SM isn't necessarily better at giving cues or taking notes, but they are
better at reacting, responding, de-escalating and preventing situations from getting worse.
If nothing is going wrong, then you are doing your job adequately and can relax. Even if it feels like it isn't much of a job.