There are some important steps before EQ, reverb, gate, compression. It's always best to aim for a sound from the very beginning, otherwise you're just fighting yourself.
Loosen the top head a little but keep even tension all around. Hit the snare dead center, doesn't have to be very hard if the aim's good. Watch out for sympathetic buzzes if the drummer's playing near other instruments - you might need to dampen the snare if it's picking up too many other vibrations. Keep the mic close to the top head, the recording will get thinner and brighter as the mic gets closer to the rim.
Compression I'd go for the LA-3A, or the 1176LN with fast attack and release. Maybe both depending on how thick you're trying to get it, and how much drum bus compression or parallel compression you plan on using.
EQ depends on what kind of snare it is, but a small broad low-mid boost can make it fatter. I use the 1073 on almost everything; for that I'd try highpass at 60Hz, small boost at 110Hz (or 60, or 220, depending on the actual snare sound), small cut at 360Hz, small high shelf boost. If you use a more flexible EQ obviously you'll have more control so you can play around with the frequencies until you find something you like.
If the hi-hat's too close or the mic's too far away (or it's a stage recording), you could use a gate. Otherwise it probably won't be a big problem, and a tiny amount of bleed might make the whole kit sound fuller once you're done, especially considering the low boost and mud reduction on the snare track.
I personally would avoid reverb on the snare itself, and prefer instead to use the overheads, room mic(s), and/or reverb on an aux send for the whole kit.
As for order, Gate (if you need it) -> cut EQ -> compression -> boost EQ. If you just want one EQ step try before and try after, to see which suits you better. As with pretty much every sound, if you boost before compression then the compressor MAY undo the modifications you're trying to make. Cutting before compression can help focus the compression on the actual sound you're trying to achieve, then boosting afterward can emphasize it.
If you don't have control over the recording phase, or if you're using samples or electronic drums then some of the above obviously doesn't apply, but you didn't specify what your situation is.
Good luck!
EDIT:
Richard Hunter said:
No reverb on the snare? WHAT!!!? how else do you get that beautiful 80's gated-plate verb sound????
Set up an aux with Plate-140, stick a little of the snare in there. Roll off the top end of verb with a little EQ...cyndi lauper goodness!
He didn't specify what sound he was going for, so "I personally" wouldn't do that by default. Sure, slap a plate and the SSL listen mic compressor on there if that's the sound you're going for - after all, it's just music 8)
