In my experience it's more the early reflections that reveal the space's size and therefore push it back the more you crank the 'verb, Spinner. Not exclusively-so, but more-so, if you know what I mean.
+1.
I'd be inclined to shorten the tail anyway to avoid mix clutter via the decay setting unless, of course, there's no other option (unlikely), in which case gating is all that remains. In passages where it's desirable to hear a tail, such as when the arrangement's sparse or nothing else is playing, automation can be used to mute the main 'verb and activate a copy of the same algorithm, but one where the tail's much-more evident. Alternatively, the decay setting could be automated.
I fully agree again with one minor exception: "there's no other option (unlikely)". If this is meant just for reverb, then IMHO its perfectly right. But if its meant in general to sweeten vocals without pushing them back in the mix then there is still a chance... 
I have to come back to what many on this board call "phase issues", as if its deadly poison. 
Historically this came from orchestra and jazz recordings. For the first its true until today. But not for many modern jazz sub-genres and not at all for pop or rock. Quite the opposite is true!
What is *reverb* - technically?
The early reflections are the direct echoes of walls. Delayed. And out of phase. And those are telling us much about the distance of the vocalist to us. The later, more taily sound is a massive numbers of echoes of echoes of echoes, including the walls further away and then bounced back echoes bouncing back. Just to be bounced back again. Again: massive numbers of delayed multi-path signals with different phases. This is telling us much about the size and structure of the room. Dull reflections mean softer walls, bright reflections mean tile, brick or concrete.
So *the other option* is: For upfront into the face vocals do not use reverb to sweeten or fatten the vocals. Just split the signal into delay 1, delay 2 and direct (dry). Play with delay times (in the order of couple of ms, well below 60ms or so). This is introducing phase issues! 
Just as any room does. Adjust the delay times until it sounds right. Its just the same as you would change the reverb from this to that until it sounds right. Its not science. Phase issues can wreck your sound. Or magically sweeten it. 
Delays being so small will not act as Early Reflections and creating distance!
To refine things: insert a micro pitch into each delay path. Insert EQ after micro pitch, to roll off treble and cleanup bass to taste. If the sound got better, but not strong enough, the add another delay path. Or why not 5 more others? 
(Funny enough: this is again Phil Collins, but this time its his vocals and not the drums. He colaborated with Eventide, if I remeber correctly...)
