Oh, running lights and sound when you're the SM... happens more often than it should. Here's a few things I find to be helpful:
If possible, when I have to board op my show I like to set up the light board on one side of my script and sound on the other so that everything is in reach.
If you're using a digital light board, make sure you have some glow tape by the "go" button as well as having the "blackout" and "back" buttons marked with white gaff or something that shows, just in case you need to find a button quickly.
If you're not using a go button, I have kind of a crazy solution that I had to use before, but it worked really well because I had lighting cues that were literally three seconds apart for completely different channels and levels. It's a lot of work and may not make sense, but bear with me: I took peices of cardboard and cut them out so that they were a kind of template for each cue: if the channel was supposed to be at 0%, I would cut out the vertical space on that peice completely, and if the channel was supposed to be at a higher percent, I only cut off the top so that when you have a quick change, you take the cardboard "cue", put it at the bottom of the x or y scene, and slide it up so that it puts the sliders at the correct level. Then if you have 24 different channels to set at all different levels, you can do so quickly. Your peice of cardboard ends up kind of looking like a cut-out shilouette of the new york skyline. It isn't always perfect, so I wrote the level for each channel on the cardboard too, in case I needed to make any adjustments. Make sure each peice is labeled with which light cue it is, as well as the scene, so that in case they get out of order you don't find yourself in a nightmare.
I agree with putting all of the sound cues on one CD (if possible; if not, make sure the place where you would have to change CDs is a place where you have enough time to). I usually prefer using letters for sound cues when I have a sound board op (so that it can't possibly be mistaken for a lighting cue), but for the sake of simplicity, i recommend your sound cue numbers correspond to the track numbers on the CD. And I like to add a couple silent seconds to the end of tracks just in case it's a short cue and you can't pause it quickly enough- then it won't play into the next track when you don't want it to.
And because I tend to make a lot of paperwork so that I feel more prepared, in addition to having everything in my prompt script, I like to have a page that is just cues- both sound and lights so that I know the order they're coming up since you personally get to go back and forth from board to board. And hopefully you don't have to, but make sure any cues that go at the same time are really clearly marked and have a standby that says so.
Break a leg!
Nicole