Guy, guys, guys. Just send it to a short room verb.
(this is assuming it is already compressed to en even volume without any drop outs or major dynamic differences, as well as eq'ed to fit the mix for suitably).
Solo the vocal with the send going to the short room. Stop playback in the middle of a passage. Listen for the short room sustain. You don't want anything being so short it makes a weird click or bounce/flutter for this. Get a healthy amount of early reflections dialed in on the verb. Mix the send loud enough so it's comfortably (not painfully) obvious when in solo once you stop during a passage and hear the decay. You likely won't hear the verb working during playback, even with the vocal in solo mode, until you stop during a passage and hear the decay. However, while it's playing, still in solo, if you turn the verb on/off back and forth you WILL notice a big difference. Now bring the full mix back and A/B between the verb being on and off. The same thing applies: you won't hear the verb working but you WILL notice when it's gone. THAT is your little bit of space.
Now, to add a nice tail and a crispy sort of ambiance that you actually DO hear a little and perceive as reverb, send it to a separate plate for some "sauce". Stole this from the funny French guy, can't think of his name but he's great. To add even more space and sauce, send it to a separate stereo or mono delay channel and dial in something that won't be audible but will be noticeable once gone. So between a mix of the short room, the plate and the delay, all doing subtle things, you've now given your vocals a professional-sounding seat in the mix, without it sounding too "wet" with fx and without needing to overabuse one single reverb just to attain what you need (which will usually just set it further back in the mix). You won't hear much of the fx working in the mix, but when they are gone you will. Try it and see for yourself.
