Yes, Paper tech is an odd thing - you don't do it outside the college or university setting all that often. Not many designers in the LORT world have a lot a patience for this.
Now, I do sit down with my team and Paper Tech the show among my people - basically work on the run book - and that is done long before we step into the theatre. So, basically I paper tech the show. As far as putting cues into my book - I find that even just copying the rehearsal cues into my calling script is sometimes a waste of time, as when the whole gang gets together and starts to work on it together, everything changes - spacing, concepts, sound cues . . . etc.
Dry tch is also something that doesn't happen at too many LORT theatres, or at least none I have worked at. Since the actors and SM are avaialable at the same time, most directors are loathed to loose actor time for crew to work on the show. Sad really, since we could probably run the entire show in 8 hours, work out all the bugs and kinks, etc. But most directors won't give up that stage time. Again, so many things change with actors.
Now, oddly, when I was working on JANE EYRE at the La Jolla Playhouse, we did do a version of dry tech. But this was a show that was huge. (I think between the SM team we did about 20 model presentations of the show going through scene be scene with the model all the changes . . . we got really good at it.) The show was huge, the technology new, and the money being spent on it vast - it was worth the expense and time to make sure everyone was on the same page.
I think in a dream world, I would love to have all my designers see the show before tech, then sit down and discuss everything as we paper tech the show, give me and my crew 8 hours to dry tech the entire show, and the move into the space and work it all with the actors. That, my friends, is a dream world.