Sorry K8tt!
I have never come across a standard form as such.
I normally devise a running sheet just to suit the type of show & logistics.
I have even had to revise the sheet of the same show performing at different venues.
However even for Musicals I break down the Scenography into cue ?Moves? designated by the Act & Scene.
Taking each as a numerical Move of the total per scene &/or change. In most cases there would be only up to about 3 Moves which would be called as Move 1, 2 or 3 for each scene. The same for the next changes & so on. Rather than give them a sequential Move number for the whole show. This would be listed in view on the OP & PS wings. However with a large crew of Mechanists/Technicians in different locations, they would have a Running Sheet each & highlight the Move number or cue that concerned them.
I normally designate Lighting cues numerically & Audio alphabetically, mainly because there is generally more Lighting than audio cues, which reduces confusion when calling the show.
With the Move cues I also include the Preset & Strike as a designated number within that scene change.
On the Master running sheet I include columns from left to right being;-   
Act - Scene - Page - Cues [Lights-Audio-Move] - Description & Remarks.
All in order of the events happening.
Further with calling I use only 3 types of cues;- Stand By - All On Cue & Go. The ?All on cue? is where there are more than one separate cue required at the same time. I find this is easier than repeating all the different cue elements on the ?GO?.
I don?t know if this helps or makes sense?

I agree with Traitor800.....I use a drafting program for  set design and even use it to draft construction plans for the "crew" (believe me these are not real carpenters).  It helps me order the correct materials and work out any problem in advance.  Fortunately I have an AutoCad program that I use at work but I think there are several smaller, less expensive programs available.

I usually use really big blocks and color code.  I use a page for each move.  Whoever has to move things first, I put on the first line.  CREW MEMBER'S NAME in black and caps, what they move in small letters in black, with whom they move it in small letters in RED, and where they move it in CAPS in RED.  Everything that can be moved at the same time goes horizontally across the page (turn your paper landscape and use legal paper).

The next row would look the same, but would also include notes on what to wait to be done.

I usually make this a gigantic poster (or 2 or 3) and post backstage as well as printing out from the copier and giving copies to the deck crew.

When working on that many changes, it is VERY IMPORTANT that cast members know exactly where they have to move and when they have to move to avoid being in the way or having something hit them.  THIS IS VERY IMPORTANT TO TAKE TIME TO DISCUSS DURING TECH REHEARSALS.  MAKE SURE YOU PRACTICE YOUR SCENE CHANGES WITH YOUR ACTORS BEFORE OPENING NIGHT.  (We had an accident during a scene change because the actor was unsure what he was doing and ran into a scenery piece being moved into position.)