In my experience, prep week is too early to expect anything as detailed as a light plot or a cue list. During prep week, concentrate on collecting information in two groups: infrastructure (from the theater's staff) and cross-department issues (from the designer).
Examples of infrastructure questions:
Which linesets are electrics?
Where are the house speakers hung?
Where are the followspot positions, and what's the experience level of the operators?
Are there backstage headsets? are they wireless? how many?
How likely is a power outage, and what's the procedure for dealing with it?
Will you, as the Stage Manager, have an infrared monitor and/or a conductor monitor?
On the production calendar, when does the hang/focus occur? Does sound have quiet time? Is there a sitzprobe?
If there are microphones, how much tech time will it require to ring out the mics?
Examples of cross-department issues:
From the lighting designer, are you expecting there to be any floor-mounted instruments, or booms in the wings?
If there's a cyc and bounce in the ground plan, is there enough room for the cyc lights to throw?
Will you be using followspots, and how many?
Does the proximity of linesets to electrics mean we should put flame retardant on any curtains?
What props are practical lights, and when does each department need to work on them?
Pyro?
Will there be body mics?
Which actors should be double-miced?
If there's tap-dancing in the show, will the tappers need a second mic?
If there's a mixer, what's the position of the sound board and what's the communication between booth and op?
In your own personal script analysis during prep week, you can also make note of specific sound cues or time-of-day indications. Later in the process, when information comes from the designers, you can respectfully inquire about any apparent conflicts between the script's call-outs and the design intention. The answers you get from those questions will help you more faithfully execute the design intent over the course of the run.
Hope this helps,