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In the same way that you can have mono or stereo instruments, and you can pan these wherever you like, so you can with your reverbs. There are some things to be aware of in each circumstance.

Mono reverbs are great for keeping your mix tidy as you can place them in a position in your stereo field. By moving the reverb slightly away from the dry source rather than having it right behind it, you will avoid masking early reflections. Whilst this can sound great as an effect, it won't sound especially realistic. The biggest problem with mono reverbs is that they don't resemble natural reverbs in any way, as natural reverbs arrive at your ears from all directions, i.e., in stereo. So, use a mono reverb if you don't desire the stereo width that a stereo reverb will provide.

Stereo reverbs will have different content on the left and right channels. It's likely that the stereo content of your reverb will have significant phasing issues if you solo your reverb channel because of this, meaning that the reverb in isolation does terrible things for your mono compatibility. This is another crucial reason to keep your ambient reverbs in check in your mix, as pushing them too much is likely to be detrimental to your mono compatibility.

You can pan mono reverbs and place them wherever you want in your stereo field. But you can also experiment with the panning of stereo reverbs. Before doing this, though, I would consider playing with the overall width of your reverb. By narrowing the stereo image of your verb, you can create space at the extremities of your stereo field. This can be helpful for double-tracked electric guitars, for example. If you've got your rhythm guitar panned hard left and right in your mix with both going to a stereo reverb, then the reverb will sit right behind the guitars. If you narrow the verb's width, you'll effectively bring the verb closer to the centre and leave the guitars out wide, allowing them to maintain their punch and clarity.

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