Mário Radačovský se je po diplomi na Plesnem konservatoriju Eva Jaczová v Bratislavi leta 1989 pridružil baletu Slovaškega narodnega gledališča in v zelo kratkem času postal solist. Leta 1992 je prejel ponudbo za zaposlitev v Nizozemskem plesnem gledališču Jiříja Kyliána v Haagu, pred prihodom pa je sklenil najprej polletno pogodbo z Baletom Narodnega gledališča Brno kot solist. V Nizozemskem plesnem gledališču Jiříja Kyliána je spoznal nekatere izmed najpomembnejših koreografov svojega časa, med drugimi Jiříja Kyliána, Matsa Eka, Nacha Duata, Ohada Naharina, Williama Forsytheja, Édouarda Locka in druge. Leta 1999 je postal prvi solist Les Grands Ballets Canadiens v Montrealu, nato pa se je leta 2000 vrnil v balet Slovaškega narodnega gledališča kot gostujoči solist in kasneje njegov umetniški vodja v letih od 2006 do 2010. Leta 2011 je ustanovil ansambel Balet Bratislava, ki ga je vodil do njegove razpustitve leta 2013. Od sezone 2013 je umetniški vodja Baleta Narodnega gledališča Brno. Leta 2018 je končal magisterij iz koreografije na Akademiji za uprizoritvene umetnosti v Pragi. Kot koreograf je začel ustvarjati leta 2002 v Les Grands Ballets Canadiens v Montrealu. Prvo delo Radačovskega je bila miniatura Pismo, sledila sta Navdih (2002) in Železniška postaja (2004). Po vrnitvi v Slovaško narodno gledališče je postavil balete Change (2005), Meeting the Swan I. (2007), Warhol (2007), 68 (2008) in Everest (2009), v Baletu Bratislava pa Monos (2012), Queen (2013) in muzikal Mata Hari (2013). Večina njegovih koreografij je nastala zunaj Slovaške: Bolero (2006) v Jeune Ballet du Quebec v Kanadi, Romeo in Julija (2011), Črno-belo (2012) in Beethoven (2015) v baletu Grand Rapids v ZDA, Kompulzivno (2013) v baletu Diablo v San Franciscu. Svojo koreografijo Črno-belo je uprizoril tudi v Royal New Zealand Ballet. V gledališčih na Češkem je predstavil tudi druge svoje koreografije: Usodne ljubezni (2012), Skupaj (2016), plesno različico znamenitega muzikala West Side Story (2017), Romeo in Julija (2019) z Baletom Narodnega gledališča Brno, Slovanski kvartet s Praškim komornim baletom (2014) in Carmen z baletom gledališča J. K. Tyl v Plznu (2016). Njegovi drugi pomembni dela, ki sta nastali v tujini sta Klavirski koncert Rihardsa Dubre z Latvijskim nacionalnim baletom v Rigi (2014) in muzikal Maria de Buenos Aires za nacionalno opereto v Bukarešti (2010). Trenutno pripravlja koreografiji za novi baletni predstavi Michelangelo za Srbski nacionalni balet v Beogradu in Beethoven za Narodno gledališče Brno.

After graduating from the Eva Jaczová Dance Conservatory in Bratislava, he joined the Slovak National Theatre Ballet in 1989, becoming a soloist in a very short time. In 1992, he received an offer to dance in Jiří Kylián’s Netherlands Dance Theatre in The Hague, but before joining he first had a half-year contract with The Ballet of the National Theatre Brno as a soloist. Working at the NDT, he met some of the most important choreographers of his time, including Jiří Kylián, Mats Ek, Nacho Duato, Ohad Naharin, William Forsythe, Édouard Lock and many others. In 1999 he accepted another foreign offer and became the first soloist of the Les Grands Ballets Canadiens in Montreal, then returning to the Slovak National Theatre Ballet in 2000 as a guest soloist and later its artistic director in 2006–2010. He founded the ensemble Ballet Bratislava, which he led until its dissolution (2011–2013). From the 2013 season, he has been the artistic director of The Ballet of the National Theatre Brno. In 2018, he finished a master’s degree in choreography at the Academy of Performing Arts in Prague. He began to create as a choreographer in 2002 at the Les Grands Ballets Canadiens in Montreal. Radačovský’s first work was the miniature The Letter, followed by Inspiration (2002) and Train Station (2004). After returning to the Slovak National Theatre, he introduced the ballets Change (2005), Meeting the Swan I. (2007), Warhol (2007), 68 (2008) and Everest (2009). In the Ballet Bratislava then for example Monos (2012), Queen (2013) or the musical Mata Hari (2013). But most of his choreographies were created outside of Slovakia: Bolero (2006) at the Jeune Ballet du Quebec in Canada, Romeo and Juliet (2011), Black and White (2012) and Beethoven (2015) at the Grand Rapids Ballet in the USA and Compulsive (2013) at the Diablo Ballet in San Francisco. He staged his choreography Black and White also at Royal New Zealand Ballet. He introduced other choreographies in theatres in the Czech Republic: Fateful Loves (2012), Together (2016), dance version of the famous musical West Side Story (2017) and Romeo and Juliet (2019) in the National Theatre Brno, the Slavic Quartet for the Prague Chamber Ballet (2014) and Carmen for the ballet of the J. K. Tyl Theatre in Pilsen (2016).