Redo with lots of sound blankets surrounding the actor, make sure the room is dampened as well, put a sound blanket under their feet... Then mic them closer. It's prohibitively expensive at your/my level to get rid of reverb. It overlaps the main dialog with the same frequencies and taints the signal that can't be removed without ridiculously expensive software/hardware that need a professional audio engineer to use well.
Echos and reverb in microphone are almost as important to avoid as clipping. The goal (as always) is to get pristine dialog audio that you can then add effects to to make it sound right for the environment shown on screen/ on set recordings. The studio should have provided you clean dialog - the point of doing ADR.
I agree with knightly. Redo the ADR, but do it yourself. I've gotten good sounding looping done with an SM-57 and Audacity before. The trick to making the ADR work is how you layer your sound (especially the ambient sound) in the edit.
I've always found properly sound editing a shot is harder and more time consuming than editing the video...
It really helps mild cases of reverb. Some of my ADR has a really bad case of reverb. So, thinking outside the box, I went back to the original on location recordings. Jenn, the actress who plays Summer Storm has a powerful voice that carries. I lowered the volume of her voice on the original recordings, which also lowered the background wind. By adding a new layer of stock wind blowing ambience across the scene, it blends into the wind. Summer Strom and Artemis have the most dialogue and worse cases of reverb. There are a couple of takes with Artemis I had to use the ADR and the reverb still is evident. Roberta's perfect ADR fixed her character's dialogue very well.
I have Angela Bruno's one line fixed with a treated ADR take. I'm still waiting on Gail Storm's two lines of ADR. So, I removed the wind with Bias Sound Soap and the new softer layer of wind blended it in.
If I get time this week, I'll upload the new version to vimeo.
There was too much rain last week to get on location ambience to replace stock wind blowing.
Guys, thank you so much for all the great suggestions.
I won't be doing ADR in that studio again. I learned a hard lesson. It's okay for narrations. But, not for ADR.
Was it reverb from a processor that was added, or "poor sounding room reflections" type reverb from the space where it was recorded? If it's from a processor, can you get the original track recordings off them without the reverb? If it's from the room itself, then that's not a good buzz from the studio at all.