Whew, this is hard to give concise advice about....from my phone..... This is what i do mainly, multitrack recording and I started out as a remote guy doing club recordings.
Usually I’d start with the audience mics, but since they are shotguns it may not make a great picture. You may find there’s too much audible delay in the audience mics, and need to time align them to a different point. Or the may be onstage pointed out, being shotguns.
You don’t have to use every mic, but I’d try to make sense of all of them as a group rather than working on subsections too much, at least at first. Things like the kick, snare and bass that have multiple inputs can be good to group and lock their relative levels together, same with pairing the OH's. You’ll probably find you have to work with and around bleed that will constrain your options. In those cases very tiny level adjustments can sometimes be the biggest perceived differences.
Panning does not have to follow stage plot. Sure, try it, but also try any other placement that yields good clarity between similar registered instruments/voices, and good L/R balance.
I'd try to get basic levels without any processing BEFORE you start applying any. The only thing I might do is use high pass filters to remove unnecessary lows from various things, that tends to be the number one clean-up tool in a large live multitrack. The DI tracks in particular may have subsonic non-musical thumps that need to be high passed.
The drums are 10 tracks but it's still one instrument. I'd go through the toms and ID where they were struck, and automate the rest down 6dB or so to manage bleed, which tends to be cymbal wash. Gates sometimes work, but not as well. Do that early on, as housekeeping. If this is like most live shows, you will find cymbals in all the vocal mics, toms, and some other things, and you'll be using less of the actual OH to balance it out.
The mandolin and acoustic, being DI, will probably benefit from some sort of amp simulator, could be in parallel if it doesn't work well in-line. The keys may benefit from that as well, depending on what they sounded like in the room. The bass DI may or may not be useful against the mic signal, and may need time aligning. I don't usually use a lot of a bass DI if there's a mic, and I sometimes turn it off.
I'd probably find a spreadsheet redundant, I'd just lay out the tracks by person, and it'll sort itself pretty easily. You'll probably have to break the mix down per song anyway, with level automation. I rarely see a multitrack live show that has anything like set-and-forget levels beginning to end.
Just realizing from the list that this was probably recorded by Steve Remote / ASL. There are clues.