Wow, what an unpleasant experience. I'm there with you, too.
I SMed in summer stock where the SM team (including the SM) was not allowed Clearcoms or walkie-talkies or ANY form of communication. Not just neglected, not allowed.Now, this seemed strange, since the LBO had a clearcom, the SBO had a clearcom, the conductor had a clearcom, and the instrumentalists all had clearcoms. This was just one in the long line of weirdnesses (I was told by the production manager that I couldn't store rehearsal props in the rehearsal room) in the place that we, the out-of-town hires, came to know lovingly as Backwards Land. I came to the theatre one day to find a note stabbed into the door with a seam-ripper from one of the stitchers, informing us that she was leaving.
Anyway, I stayed, partly for the challenge. I said, "well, what if I didn't have what I needed, how would I do what I need to do?" and I treated it like survival camp for stage management. My ASM and I worked out an ingeneous system of hand signals and checkpoints (we were in the round, did I mention that?) to communicate, and I wrote my calls in the books of the LBO and SBO and let them take their own cues while I ran the deck with the ASM and took care of the actors. I did the cue lights myself, and on the super important timing cues, I went and stood next to the appropriate board op (and by the way, they were in two seperate booths across the theatre from one another), made them take off their clearcoms (which they only used to gossip withe the orchestra), and I called the cue in their ear.
It got to be kind of fun, and I learned that the show can go on even when morons are in charge, as long as the SM keeps her sense of humor and creativity.
However, I have walked off shows before, too, and there is definitely a time for that. It sounds like you found that point. Better luck next time.